Andrej Dular



Zbirka Slovenskega etnografskega muzeja





Ljubljana 2015





KAZALO





CONTENTS




MODROTISK





BLUE-PRINTING




LITERATURA





LITERATURE




KATALOG





CATALOGUE




KAZALA





INDEXES




SLIKOVNA PRILOGA





ILLUSTRATIONS





MODROTISK


Razvoj modrotiska v Evropi

Modrotisk1 je poseben način tiskanja vzorcev na blago in ga imenujemo rezervni tisk (Plotzki 1955: 10). Njegovo bistvo je postopek, pri katerem se z vzorčastimi modeli nanese na tkanino kašasta lepljiva snov – rezerva, ki ob barvanju tkanine v modrem barvilu prepreči dostop in vezanje barve na vlakna. Ko se obarvano blago posuši in rezerva odstrani, obdržijo vzorci naravno barvo blaga na pobarvani modri osnovi. Modrotisk je torej vrsta negativnega tiska, pri katerem se vzorci ne barvajo neposredno (kot na primer pri pozitivnem tisku), izraz pa je tudi soznačnica za vrsto vzorčno barvanega blaga. Z različnimi kemičnimi sestavami rezerve (mehanskokemična rezerva) pa je mogoče doseči tudi vzorce različnih barv, z večdelnimi (sestavljenimi) modeli pa tudi pestre večbarvne vzorce. Poleg modrotiska je najbolj znana različica rezervnega negativnega postopka batik, pri katerem s posebnimi pisali ročno nanašajo vročo voščeno rezervo na fino tkanino in jo nato barvajo v hladni kopeli.

Vzorčenje tekstila z rezervnimi tehnikami in barvanjem sodi med najstarejše krasilne postopke, saj so ga poznali več stoletij pred našim štetjem v Indiji, Tibetu, na Kitajskem in na Javi. O njegovih sledovih poročajo antični pisci, Plinij pa opisuje tudi postopek rezerviranja in barvanja, kakršnega so pri svojem delu uporabljali kasnejši evropski barvarji. Najstarejši doslej ohranjeni primerki negativnega modrega tiska z zvezdastimi in pikastimi vzorci so na otroški tuniki iz Egipta in segajo v 4. in 5. stoletje našega štetja (Vydra 1954: 9–11). O tem, kdaj, od kod in na kakšen način naj bi v Evropo prvič prišlo večbarvno blago in védenje o večbarvnih tiskarskih tehnikah, obstaja več teorij, enotne so si v tem, da so te dobrine prišle iz vzhodnih dežel bodisi po kopenski ali morski poti (Domonkos 1981: 7).

Z evropsko kolonizacijo vzhodnih dežel se je od 16. stoletja naprej z odprtjem novih morskih poti razmahnila trgovina s kolonialnim blagom. Poleg začimb, dišav in vezenin so v Evropo v poznem 16. in zgodnjem 17. stoletju začeli uvažati bombažne ročno tiskane tkanine, tako imenovane indienne (po Indiji, iz katere so jih uvažali), kaliko (po mestu Kalkuti, kjer so jih izdelovali) ali chintz (iz hindujske besede chint, kar pomeni barvit, pisan). Z uvažanjem so se najprej ukvarjali Španci in Portugalci, Angleži pa so tovrstno blago dobivali predvsem s plenjenjem njihovih ladij. Od 17. stoletja naprej pa so poleg Špancev in Portugalcev začeli v kolonialni politiki Evrope prevladovati Nizozemci, ki so prevzeli trgovino z živobarvnimi tkaninami iz Indije, dovoljenje za uvoz tiskanih tkanin pa je leta 1631 dobila tudi angleška Vzhodnoindijska družba. Zanimanje za tiskane tkanine je bilo v Evropi namreč tolikšno, da so v Franciji, na Nizozemskem, Portugalskem in v Angliji kar tekmovali, kdo bo pripeljal v Evropo najboljše in najlepše primerke tega blaga (Storey 1992: 20–21). Te tkanine so se ljudem močno priljubile zaradi cenenosti, pestrosti vzorcev in lepih barv, pa tudi zato, ker so posnemale draga svilena oblačila višjih družbenih slojev, ki si jih revnejši sloji niso mogli privoščiti. Iz tega uvoženega blaga so izdelovali ženske in otroške obleke, zavese, pregrinjala, prevleke za pohištvo in stenske tapete. Tovrstno indijsko blago z vzorci cvetlic, vejic in vitičja je v 17. in 18. stoletju v Evropi oblikovalo modo oblačilnega in pohištvenega blaga in je v različnih oblikah v rabi tudi danes (Storey 1992: 21).




Rastlina indigo (Indigofera tinctoria).

(Iz knjige: Vydra 1954, sl. 51; foto: A. Dular, 1999).

Indigo plant (Indigofera tinctoria).

(From the book: Vydra 1954, pl. 51; photo A. Dular, 1999).

Nizozemci so začeli hkrati s tekstilom v velikih količinah uvažati indigo v Evropo, v drugi polovici 17. stoletja pa tudi kitajski porcelan, kar je zlasti vplivalo na modnost modre barve pri oblačilih, oblazinjenem pohištvu in keramiki. Močno zanimanje za uvožene raznobarvne tkanine je spodbudilo izdelovanje tovrstnega blaga tudi v Evropi. Nizozemci so se v vzhodni Indiji seznanili s tehniko rezervnega tiska in jo prenesli na domača tla. Iz Nizozemske se je ta tehnika razširila najprej v Nemčijo in od tam na Češko in Slovaško ter v druge države. Tako je novi postopek z uporabo modelov, raznovrstnih rezerv in barvil v povezavi z različnimi fiksirji omogočil ceneno proizvodnjo tiskanih tkanin tudi v Evropi, saj so začeli izdelovati preprostejše kopije indijskih in kitajskih vzorcev.

Uvoz tiskanega blaga je v evropskih deželah povzročil konkurenco ter ogrozil monopol in eksistenco tkalcev in suknarjev, ki so izdelovali blago z vtkanimi vzorci. Združeni v cehe so se uprli uvažanju tovrstnega blaga, tako da so morale oblasti v posameznih državah prepovedati nošenje tiskanih tkanin iz Indije, Perzije in Kitajske. Takšna prepoved se je leta 1686 pojavila v Franciji, leta 1700 v Angliji, potem pa še v Prusiji in Španiji. Vendar pa te prepovedi niso bile zadostne, saj je medtem narasla tudi proizvodnja domačih evropskih tiskarjev, ki so tiskali priljubljene vzorce na tkanine, narejene iz bombaža in lanene preje, ter na bele bombažne tkanine, ki so jih lahko uvažali iz Indije. Oblasti so morale sprejeti dodatne prepovedi tudi za nošenje ne le uvoženega blaga, temveč tudi blaga domače proizvodnje. Dovoljevale pa so proizvodnjo določene količine tiskanega blaga za izvoz. Te prepovedi so ukinili v Prusiji leta 1735, v Franciji leta 1759 in v Angliji leta 1764, kar je tudi omogočilo, da se je tiskanje blaga z rezervnim postopkom močno razmahnilo in napredovalo in obenem spodrinilo dotedanje pozitivno tiskarstvo, ki je uporabljalo oljnate barve. Pomembna tiskarska središča so nastala na Nizozemskem, v Švici (Ženeva, Glarus, Neuenburg, Zürich, Basel), Alzaciji in Nemčiji (Saška, Augsburg) in kasneje tudi na Češkem, Slovaškem, Madžarskem in v Avstriji (Kulišer II 1959: 212; Storey 1992: 30).

Modro tiskano blago, ki so ga izdelovali v mestih in po vaseh skoraj po vsej osrednji Evropi, se je najprej uveljavilo v zgodnjem 18. stoletju v noši višjih slojev, sto let kasneje pa so ga nosili že ljudje vseh družbenih plasti. Zlasti je postal modrotisk priljubljen na podeželju, kjer so v vsakdanji noši in tekstilu nasploh prevladovali nebarvani ali enobarvni oblačilni materiali (Balfour-Paul 1998: 161; Sandberg 1989: 48), ki so bili povečini krašeni s tkalskimi in vezilskimi tehnikami. Modrotisk je bila dobrodošla, predvsem pa cenena novost, ki se je zato razširila tudi na podeželje. Njegova prednost je bila v tem, da so to krasilno tehniko lahko uporabili na domačem platnu, saj ga na kmetijah zaradi lastne platnarske proizvodnje ni bilo potrebno kupovati. Poleg tega je bilo modro tiskano blago na pogled manj občutljivo za umazanijo in ga zato niso prali tako pogosto kot belo domače platno (Vydra 1954: 44). Seveda pa je dosegel modrotisk pravi razmah na podeželju šele s cenenimi industrijsko izdelanimi bombažnimi tkaninami.


O modelih in njihovih izdelovalcih

Izdelovanje modelov za potrebe obrtnih dejavnosti je bila v srednji Evropi povečini domena posebnih obrtnikov že od poznega srednjega veka. Mojstri, tako imenovani modelorezci ali modlarji, so izdelovali različne modele za potrebe lectarjev, svečarjev, lončarjev in drugih obrtnikov. Do začetka industrijskega tiska na blago so bili ročni modeli pomembni tudi v barvarski oziroma tiskarski obrti, saj so z njihovo pomočjo vzorčasto krasili laneno platno, bombaž, svilo in drugo blago. Veliko število modlarjev po evropskih mestih, govori o razširjenosti in pomenu te obrti v preteklosti; tiskarji in tudi mojstri drugih obrti pa so si modele za svoje delo izdelovali tudi sami.

Modeli za tiskanje blaga, ki jih danes hranijo evropski muzeji, pričajo o bogastvu motivov, o umetniški ustvarjalnosti in tehničnem znanju njihovih izdelovalcev. V Nemčiji, na Češkem, Slovaškem in na Madžarskem so bili številni centri, v katerih so izdelovali modele za tiskanje blaga (Bachmann, Reitz 1962: 15; Domonkos 1981: 56; Pechová 1998: 101; Vydra 1954: 27). V posameznih deželah so bili znani izdelovalci modelov, ki so se svojega poklica in veščin izučili kot potujoči pomočniki na potovanjih po evropskih mestih. Domonkos navaja, da so barvarski pomočniki iz tujine prihajali k madžarskim mojstrom in da so bili vešči izdelovanja in popravila modelov.

Pomočniki so iz tujine prinašali v domači kraj nova znanja in tudi motive in so te nato s pridom uporabili pri izdelavi novih modelov v svojih novoustanovljenih delavnicah.

Ker so bili modeli tudi predmet trgovanja, so v številnih evropskih deželah modeli s sorodno ornamentiko. Moravski barvarji in tiskarji so na primer uporabljali poleg domačih modelov tudi modele čeških izdelovalcev, veliki proizvajalci modelov pa so bili tudi Nemci (Svobodová 1971: 12), firma Kluge v Papi na Madžarskem je navadno naročala in kupovala nove modele v avstrijskih delavnicah, madžarski tiskarji so jih med drugim naročali pri izdelovalcih na Moravskem (Moravska Trebova, Novy Jičin, Zabreh) in v Hordu na Vorarlberškem (Domonkos 1981: 60), poljski tiskarji pa so kupovali modele tudi pri madžarskih izdelovalcih. Tiskarji so si modele med seboj tudi menjavali ali pa jih kupovali od tiskarjev, ki so opustili svojo obrt (Domonkos 1981: 56–62; Pechová 1998: 101). Tudi za slovenske barvarje in tiskarje velja, da so si modele nabavljali iz tujine, in sicer iz Češke, Moravske in Nemčije, iz teh dežel pa so nekateri barvarji tudi izvirali oziroma so se v teh deželah izobraževali. V Pokornovi barvarski in tiskarski delavnici v Škofji Loki so bili modeli s Češkega, Moravskega in iz Avstrije.2 Preproste modele pa so barvarski mojstri lahko priložnostno izdelovali tudi sami, saj so morali že kot barvarski pomočniki obvladati tudi to obrtno znanje.

Za preprostejša modela3 v zbirki SEM bi lahko dejali, da ju je izdelala manj vešča roka. V literaturi in virih se za slovenski prostor omenja poklicni modlar, tako imenovani modelšteher, Anton Berger (Makarovič 1974: 61; Kragl 1936: 311), ki se je leta 1838 priselil s koroškega Sachsenburga v Tržič in se dve leti kasneje tamkaj tudi poročil z domačinko Katarino Kvandeš.4 Berger se je naselil v Tržiču zaradi izdelave tiskarskih modelov za Peharčevo in Pollakovo barvarno in tiskarno, njegovo delo pa je v Tržiču nadaljeval tudi sin Feliks. Pečatna modela Pollakove5 in Peharčeve6 barvarne in tiskarne v Tržiču bi lahko bila delo omenjene modlarske delavnice.




Upodobitev modlarja na modelu za marcipan iz 1. polovice 19. stoletja. (Iz knjige: Bachmann, Reitz 1962, sl. 1; foto: A. Dular, 1999).

Depiction of a blockmaker on a marzipan model from the first part of the 19th century. (From the book: Bachmann, Reitz 1962, pl. 1; photo A. Dular, 1999).

Izdelovanje modelov za tiskanje blaga je zahtevalo strokovno znanje in večletne praktične izkušnje. Veliko natančnosti je bilo potrebne pri modelih z raportnim vzorcem, saj se je pri njih motiv nadaljeval brez vidnega presledka. Takšnih modelov pa je bilo v tiskarskih delavnicah največ. Tehnika izdelave modelov je bila podobna izdelavi grafičnih lesoreznih tiskarskih plošč.

Kot je bilo že omenjeno, je uvoženo tekstilno blago z vzhoda vplivalo s pestrimi vzorci na ornamentiko modelov, ki so jih izdelovali evropski modelorezci. Cvetlični motivi različnih oblik in velikosti so le v manjši meri posnemali resnične podobe flore. Cvetovi, listi in vitičje so vse bolj dobivali tudi fantazijske, namišljene podobe, ki so pod vplivom evropske rokokojske, empirske in bidermajerske mode spreminjale oblike in kompozicijo na osnovni plošči tiskarskega modela. Nekateri prevzeti vzorci vzhodne ornamentike, kot na primer kašmirski vzorec na šalih in rutah, so postali v Evropi prav popularni in so se ohranili do današnjih dni. Motiviko za modele so modelorezci našli v prizorih s kitajskega porcelana, ki so ga uvažali v Evropo, pa tudi v posvetnih motivih iz vsakdanjega življenja (rokokojski motiv idiličnega življenja, drevo življenja, štirje letni časi, lovski motivi, motivi zgodovinskih dogodkov, na primer prihod prvega vlaka, itd.) ter v bibličnih motivih iz stare in nove zaveze (Adam in Eva, Kristusovo rojstvo, Kristusovo vstajenje). Iz ornamentike ohranjenih modro tiskanih tekstilij v naših muzejih, iz literature o uporabi modro tiskanega blaga in tudi iz ohranjenih modrotiskarskih form pri nas lahko sklepamo, da na Slovenskem v modrotisku tovrstna ornamentika ni bila v navadi.




Model za modrotisk z motivom parne lokomotive. (Predmet hrani Pokrajinski muzej Ptuj; foto: A. Dular, 1999).

Blue-printing block with the motif of a steam engine. (Now part of the Ptuj Regional Museum collection; photo A. Dular, 1999).

Evropski modelorezci so upoštavali od dežele do dežele različen okus odjemalcev in porabnikov modro tiskanega blaga. Veliko število modelov v tiskarskih delavnicah dokazuje, da so bile zahteve po različnih vzorcih zelo velike. Po drugi strani pa so bila ruralna okolja navezana na čisto določene, tradicionalne motive in vzorce in so zato novotarije v krašenju tekstila zavračale. Vydra na primer ugotavlja, da se je določen vzorec pri kmeticah slovaškega ruralnega območja tako uveljavil, da so blago zavrnile že, če je bil ornament obrnjen v drugo smer kot običajno (Vydra 1954: 32). Modelorezci so se zato zgledovali po tradicionalnih in uveljavljenih vzorcih, ki so bili blizu ljudem. Zato so motive povzemali tudi iz tkalskih in vezilskih predlog, torej iz krasilnih tehnik, ki so se pred uporabo modro tiskanega blaga veliko uporabljale za krašenje prazničnih oblačil. Zato je tudi lažje razumeti, da so se v slovenskih modrotiskarskih obratih pojavljali čisto določeni, v glavnem cvetlični in geometrijski vzorčni modeli in da na njih skorajda ni antropomorfnega ali zoomorfnega motiva. Večina modelov za tisk blaga je k nam prihajala od drugod, naročniki modelov pa so bili domači barvarski mojstri, ki so dobro poznali likovni okus svojih strank.

Prvotno so bili modeli za tiskanje blaga leseni, modelorezci so zanje uporabljali deske iz hruškovega, orehovega, slivovega, kostanjevega in javorjevega lesa, debeline 2 do 5 cm. Najpogosteje so uporabili hruškov les, ki ni bil vlaknast, a je bil hkrati trd in žilav. Velikost modelov je bila 18 x 20 cm, 22 x 25 cm in več, kar je bila tudi površina vzorčnega polja. Površina modela je bila tolikšna, da so lahko s tremi prestavitvami modela potiskali celotno širino blaga, ki je bila okrog 60 do 70 cm. Modeli, ki so bili narejeni iz tanjših desk, so imeli na reverzni strani pritrjeno še eno ali več dodatnih desk, ki so bile ponavadi iz mehkejšega lesa. Dodatna deska je ojačala osnovno desko modela, ji dala trdnost in je imela branike dosledno obrnjene pravokotno na branike osnovne deske. Pri raztezanju in krčenju lesa so tako potekajoče branike preprečevale, da bi se model krivil. V 19. stoletju se je večalo število modelov, ki so bili narejeni iz hrastovega in bukovega lesa, kar je bilo povezano z novim načinom izdelovanja modelov. Lesenim modelom so se namreč v 2. polovici 18. stoletja (Storey 1992: 33) pod vplivom rokokojske mode, ki je v dekoriranju blaga zahtevala drobnejše detajle, pridružili kombinirani modeli. Na njih so bili poleg izrezljanih vzorcev še drobni detajli, narejeni tudi iz bakrenih in medeninastih trakov, ploščic in žebljičev. Kasneje so modeli s kovinskimi aplikacijami prevladali, saj jih je bilo mogoče popravljati, dopolnjevati in hitreje spreminjati oziroma prilagajati modi, bili pa so tudi cenejši.

Osnovni vzorec so na model prenesli s pomočjo lakiranega papirja, na katerem je bil narisan želeni motiv. Papir so premazali s tiskarsko barvo ali sajami, ga položili na leseni blok in motiv prekopirali na les. V reverzno stran osnovne deske modela so izvrtali luknjo, da so ploščo lahko nasadil na trn, tako da so ploščo pri obdelavi lahko poljubno obračali. Z dleti in drugim rezilnim orodjem so nato iz osnove izrezljali vzorce ter odstranili odvečni les, tako da je bil model čim lažji. Pri kasnejših kombiniranih (les, kovina) ali kovinskih modelih so v leseno ploskev modela z dleti zarezali žlebiče, v katere so nato ob pomoči železne distančne ploščice zabili do 10 mm široke bakrene ali medeninaste ploščice in trakove. Debelejše in tanjše medeninaste žebljiče, velikosti od 20 do 25 mm in različnih oblik, so v osnovno ploskev zabijali 8 do 10 mm globoko. Ker bi se tanjši žebljiči pri tem lahko poškodovali, so jih aplicirali v vnaprej pripravljene drobne luknjice. V tri vogale modela so nato namestili medeninaste nastavitvene žebljiče, ki so pri raportnem tiskanju omogočili natančno nastavitev modela in nepretrgano nadaljevanje vzorca na blagu. Kovinske aplikacije so še pobrusili s plovcem ali peščenjakom in tako izravnali nepravilnosti na tiskarski površini modela. Za boljši oprijem pri tiskanju so manjšim modelom v stranski ploskvi izdolbli plitvi oprijemali, večjim in težjim modelom pa so oprijemala izžagali iz stranskih ploskev ali pa so jih vdolbli v njihovo reverzno stran. Z rezilnikom so skrbno obdelali še stranice modela in les zaščitili pred vlago in kemikalijami s firnežem in lakom.




Orodje za izdelovanje tiskarskih modelov. (Iz knjige: Vydra 1954, sl. 31; foto: A. Dular, 1999).

Tools for making printing blocks. (From the book: Vydra 1954, pl. 31; photo A. Dular, 1999).

Izdelovalci modelov so pri svojem delu uporabljali risarski pribor, ravnila, kotnike in različne vrste orodja, na primer dleta, nože, kladiva, svedre, pile, žage in bete, pri izdelavi kovinskih modelov pa je bila nadvse pomembna tudi jeklena matrica, s katero so profilirali bakreno in medeninasto žico v križne, okrogle, polokrogle, kvadratne, zvezdaste in druge vrste presekov. Žico so potem priostreno razrezali na primerno velike žebljiče in te nato uporabili pri ustvarjanju vzorcev na modelih (Domonkos 1981: 56–62; Vydra 1954: 24–28; Bachmann, Reitz 1962: 16–17).

Za večbarvni tisk so morali modlarji izdelati poleg osnovnega konturnega modela še toliko vzorčnih dopolnilnih modelov, kolikor barv je vseboval končni vzorec. Tako poznamo dvo-, tri- in večdelne modele za tiskanje blaga. Pri dvodelnih modelih, ki jih hrani Slovenski etnografski muzej, je vzorec osnovnega konturnega modela narejen iz kovinskih aplikacij, le v enem primeru je kombiniran z lesom, medtem ko so tem pripadajoči dopolnilni modeli leseni in je le v enem primeru vzorec kovinski.7




Reverzna stran modela za modrotisk z vdolbenima oprijemaloma. (Predmet hrani SEM; foto: A. Dular, 1999).

Reverse side of a blue-printing block with two hand-carved finger-grip holes. (Now part of the SEM collection; photo A. Dular, 1999).

Svoje izdelke so modlarji ponekod signirali z inicialkami, ki so jih bodisi vrezali ali aplicirali s kovinskimi trakovi v stranice modela ali na njegovo hrbtno stran; izjemoma se njihovo ime pojavlja tudi na osnovni ploskvi. Izdelovalci modelov, ki jih hranimo pri nas, ostajajo uganka, dokler ne bodo opravljene primerjalne raziskave s tujimi muzejskimi zbirkami modrotiskarskih modelov. Zato redki označeni modeli ostajajo izziv za nadaljnje delo. Naročnikovo ime (če je bil model naročen), se ponavadi pojavlja na osnovni (tiskarski) ploskvi modela v podobi inicialk ali naročnikovega polnega imena.


Barvarstvo in proizvodnja tekstila na Slovenskem

Modrotiskarstvo je imelo na Slovenskem svoje korenine v srednjeevropski barvarski obrtni dejavnosti. To izpričuje vrsta podobnosti v barvarskih in tiskarskih napravah in orodju, organizaciji dela, načinih barvanja in tiskanja blaga, podobnosti tiskarskih modelov in na njih upodobljenih motivov in ne nazadnje tudi osebna medsebojna povezanost naših in tujih barvarskih obrtnikov (Gorišek 1959: 158). Cehovska pravila, ki so zapovedovala obvezno pomočniško popotovanje po tujih delavnicah, so te odnose še poglabljala. Posamezni barvarji in modrotiskarji so prihajali v naše kraje iz severnih dežel (Češke in Moravske) in si tukaj ustvarili delavnice in družine. Njihovi sinovi so se učili barvarske obrti pri slovenskih mojstrih, izpopolnjevali pa so se na tujem. S porokami in dedovanjem posesti so se med seboj povezale tudi posamezne barvarske družine.

Vzorčno tiskanje blaga z ročnimi modeli se je na Slovenskem uveljavilo v prvi polovici 19. stoletja, ko se je pod vplivom evropskih oblačilnih tokov začel večati med kmečkim prebivalstvom tudi pri nas interes za raznobarvne tiskane tkanine. Modrotiskarstvo je bila dejavnost, ki se je razvila v okviru manjših vaških barvarskih delavnic ter večjih mestnih in trških tekstilnih barvarskih manufaktur in kasneje tovarniških obratov, ki so blago ne le proizvajali, ampak tudi barvali in tiskali. Industrijska proizvodnja barvanega in tiskanega tekstila je bila tudi vzrok, da sta barvarstvo in z njim ročno tiskanje tkanin kot posebna oblika obrtne dejavnosti začela propadati in sta na začetku 20. stoletja tudi dokončno ugasnila.

Prednost modrotiskanega blaga je bila v njegovi krasilnosti, cenenosti in dostopnosti najširšim družbenim slojem, saj so barvarji tiskali vzorce na laneno in konopljeno platno domače izdelave, ki so ga kmečki tkalci prinašali v barvanje. Kasneje so tiskali tudi kupljene bombažne tkanine. Barvarske delavnice na podeželju so zadovoljevale bližnje ali bolj oddaljene porabnike, bile so največkrat v sklopu kmetije, barvarji pa so se vsaj deloma ukvarjali s kmetijstvom. Že po cehovski tradiciji so barvarji tudi valjali sukno in platno, zglajeno platno pa je bilo pogoj, da so ga sploh lahko tiskali. Zato so v sklopu barvarskih obratov delovale še manjše ali večje valjalnice. Barvarji pa so bili pogosto tudi založniki, ki so kupljeno prejo dajali v tkanje kmečkim tkalcem, stkano blago pa so potem barvali in ga prodajali svojim strankam. Manufakturni obrati, ki so imeli v svojem sklopu tudi barvarne in tiskarne, pa so blago prodajali ne le domačim, ampak tudi tujim kupcem.

Barvarstvo in kasnejše modrotiskarstvo je bilo v neposredni zvezi z izdelovanjem tekstilnega blaga. Število barvarjev je naraščalo z razcvetom platnarstva in suknarstva in je tudi nazadovalo z njunim zatonom. Zlasti platnarstvo se je v 18. stoletju pod vplivom merkantilističnih idej razvilo v domačo kmečko obrt, ki je zadovoljevala domače potrebe in je hkrati v velikih količinah proizvajala blago tudi za izvoz. Središče kranjske platnarske dejavnosti je bilo v Škofji Loki in njeni okolici, v Poljanski in Selški dolini. Večino blaga so od tod izvozili v Italijo. Kmetje so prinašali svoje sukno in platno barvat mestnim barvarjem (Blaznik 1940: 69). Posebno znano je bilo mikano platno iz okolice Smlednika, Medvod in Mengša (Mohorič 1955: 71). Domače platno so tkali tudi na kmetijah v Tržiču in njegovi okolici (Mohorič 1960: 9). Suknarstvo in platnarstvo sta bila razvita v Gornjesavski dolini v Ratečah in Podkornu (Novak, A. 1964: 245) ter na Kočevskem, kjer so poleg platna izdelovali tudi grobo sukno. Sukno so izdelovali še ponekod na Notranjskem okrog Prema in Senožeč, v Kočanski dolini (Baš, A. 1985: 62–63) ter na Gorenjskem v vaseh med Begunjami in Žirovnico, kjer so še do prvih desetletij 20. stoletja tkali in valjali sukno v glavnem za delovna oblačila in hišno opremo (Novak, V. 1954: 117). Domače sukno so izdelovali tudi pod Olševo in Peco, na Strojni, okoli Slovenj Gradca, na Pohorju, Kobanskem, v Zgornji Savinjski in Zadrečki dolini (od Solčave do Mozirja ter okrog Gornjega Grada), v okolici Vitanja (Kotnik 1943: 26; Hribernik 1954: 119). Podlaga tej dejavnosti je bila seveda močno razvita ovčereja. Platnarstvo, ki je zadovoljevalo domače potrebe, je bilo razvito tudi v Prekmurju, na Dolenjskem (v okolici Žužemberka, Šentjerneja, Šentruperta, Mokronoga), v Beli krajini, na Notranjskem (v Cerkniški in Loški dolini), na Primorskem in Koroškem (Makarovič 1968: 109–111).

Barvarska obrt je bila pri nas seveda mnogo starejša in obsežnejša od tiskarstva, saj se nekateri barvarji kasneje niso preusmerili v tiskanje blaga. Prvi znani podatki o številu barvarskih mojstrov pri nas segajo v leto 1673, ko naj bi bil po en barvar v Celju, Konjicah, Mariboru, Slovenski Bistrici in Tržiču (Žontar 1970: 81). Mestni in trški barvarji so bili v 17. stoletju včlanjeni v ljubljanski barvarski ceh, ki je združeval mojstre celotne Kranjske. Leta 1673 so kranjski barvarji ustanovili skupaj z barvarji iz Škofje Loke, Tržiča in Radovljice podružno cehovsko skrinjo v Kranju (Žontar 1939: 196). Leta 1725 so bili v cehu združeni barvarji iz Ljubljane (5), Kranja (7), Kamnika (5), Škofje Loke (6), Radovljice (5), Višnje gore (3), Tržiča (4) in Cerknice (2) (Slokar 1977: 28). Njihovo število je raslo do sredine 19. stoletja, ko je bilo na območju Kranjske po manjših in večjih mestih (Ljubljana, Tržič, Škofja Loka, Kranj, Idrija, itd.) kar 48 barvarjev. Pod vplivom razvijajoče se tekstilne industrije v 2. polovici 19. stoletja in tujega uvoženega blaga se je začela poraba barvanega in tiskanega domačega platna in kotenine zmanjševati. Večala pa se je poraba industrijsko izdelanih tkanin, ki so bile še v 1. polovici 19. stoletja domena kmečke praznične noše, zdaj pa so čedalje bolj vdirale tudi v kmečka delovna oblačila. Število barvarjev se je zato manjšalo, tako da jih je bilo leta 1870 še 36, dve leti kasneje 30, leta 1880 pa 24, in sicer po eden v okrajih Vipava, Rače, Kranj, Tržič, Litija, Novo mesto, Brdo in Ljubljana okolica, po dva barvarja sta bila v okraju Idrija in Kamnik, po trije pa v okrajih Ljubljana, Loka, Kranjska Gora in Radovljica (Makarovič 1974: 60).

Mestnim in trškim barvarskim mojstrom moramo prišteti še barvarje, ki so delali na podeželju in niso bili člani ceha. Z barvanjem oblačil so se za lastne potrebe ukvarjali tudi na kmetijah. V okolici Poljčan naj bi še v 1. polovici 19. stoletja ženske v mužah (jamah) z naravnimi barvili barvale iz domačega hodnika narejene hlače, lajblce, srajce, jopice, moške in ženske predpasnike ter rjuhe. Kmečki in obrtni barvarji so barvali blago v črno, belo, sivo, rjavo, rdečo, zeleno in modro barvo z naravnimi uvoženimi ali domačimi barvili oziroma z esencami rastlinskih korenin, stebel in listja, kot so brošč, oblajst (silina), indigo, hrastova skorja, kostanjeve iveri, orehove lupine, ježice, jelšev les, liguster, črna zemlja (Kovačič 1906: 34–37; Žagar 1991: 59).

V vodi prekuhane iveri domačega kostanja so na primer dale kopel rjave barve. Če pa so blago iz te kopeli potopili še v raztopino modre galice, je blago postalo sivo. Za črno barvo so tej kopeli dodajali še brazilski les (Kotnik 1949: 18). Barvarska tehnologija se je začela spreminjati, ko so v 50. letih 19. stoletja iznašli sintetična barvila. Poljčansko kmečko barvarstvo naj bi začelo pojenjati šele, ko se je v Slovenski Bistrici sredi 19. stoletja naselil poklicni barvar. Na domače platno je tiskal vzorce vsakovrstnih cvetlic, ki so ugajale ženskam (Kovačič 1906: 39).

Gorenjsko suknarstvo je začelo propadati že v 1. polovici 19. stoletja zaradi konkurence strojno izdelanega češkega blaga. Pri nas je bilo malo tekstilnih podjetij, ki bi lahko prešla na industrijski način proizvodnje in so zaradi tega propadala. Tako je že na začetku 19. stoletja propadla suknarna v Selu pri Ljubljani, v drugi polovici 19. stoletja pa suknarna v Zgoši in obe kocarni v Kranju ter v začetku 20. stoletja tovarna volnenega blaga v Škofji Loki. Podobno usodo so kasneje doživele barvarne in tiskarne bombažnega in volnenega blaga; med njimi najbolj znane Pollakova in Peharčeva iz Tržiča, ki sta bili ukinjeni leta 1870 in 1890, in Pirčeva iz Kranja, ki je delovala do 1. svetovne vojne. Zato pa je bila toliko uspešnejša sicer maloštevilna bombažna tekstilna industrija.

Tekstilne tovarne pri nas so ustanavljali tuji podjetniki, ki so že imeli podobna podjetja na Češkem in v Spodnji Avstriji, pa tudi tržaški trgovci z bombažem in večje tržaške in dunajske podjetniške družbe. Tako je bila prva bombažna predilnica in tkalnica ustanovljena leta 1828 v Ajdovščini. Leta 1837 je bila ustanovljena mehanična predilnica in tkalnica na parni pogon v Ljubljani in leta 1842 bombažna predilnica v Preboldu. Kasneje so se tem obratom pridružile še tovarne v Tržiču, Litiji itd. Tovarne so izdelovale predvsem bombažno prejo in surove tkanine, ki so jih kot polizdelke povečini uporabljale tovarne na tujem za končne izdelke. Zaradi takšne usmerjenosti je slovenska tekstilna industrija le deloma zadovoljevala potrebe domačega tržišča, ki je čedalje bolj povpraševalo po bombažnem blagu (Kresal 1976: 25–28). Z razvojem železniškega prometa v 2. polovici 19. stoletja je še v večji meri prihajalo k nam tovarniško izdelano bombažno in drugo blago iz čeških, moravskih in šlezijskih tovarn ter je preplavilo tržišče. Na letne kramarske sejme so ga prinašali židovski prekupčevalci zlasti z Moravskega. To blago je bilo za oko prikupnejše, lažje, bolj gladko izdelano in cenejše od domačega platna, zato se je čedalje bolj širilo in izpodrivalo domače platno in sukno. V mehaničnih predilnicah in tkalnicah narejeno blago je bilo konkurenčno in je povzročilo pri nas zamiranje ročnega predenja in tkanja na podeželju (Mohorič 1955: 75; isti 1960: 17).


Barvarski in modrotiskarski mojstri in njihova proizvodnja

Iz opisov oblačilnih materialov in oblačil kmečkega in mestnega prebivalstva ne moremo ugotoviti, kdaj točno so se barvarji na Slovenskem začeli ukvarjati z modrotiskarstvom. Vsekakor pa to ni moglo biti pred začetkom 19. stoletja, saj tovrstnega barvarskega obrata ni premogla niti Ljubljana. Tako bi vsaj sklepali po prošnji, ki jo je leta 1794 neki Berger iz Ljubljane naslovil na barvarski ceh. V njej je prosil, da bi ga barvarji sprejeli medse, ker je hotel odpreti tiskarno za cic in platno, saj ta stroka barvarstva dotlej v Ljubljani še ni bila znana. Čeprav je bilo barvanje platna že od leta 1773 prosta obrt (Slokar 1977: 77), barvarji Bergerjeve prošnje niso uslišali in je prosilec kljub pritožbam slednjič obupal in opustil namero, da bi v Ljubljani ustanovil tiskarno za blago (Vrhovec 1886: 239).

V prvi polovici 19. stoletja pa so nekateri modro tiskarski obrati na Gorenjskem že tiskali bombažno blago in v večjih količinah domače platno, ki so ga za svoje potrebe prinesli kmetje v barvanje in tiskanje. Pomembne rokodelske barvarne in modrotiskarne so bile v prvi polovici 19. stoletja v Tržiču, Kranju (Mohorič 1960: 9 ss; Kobe-Arzenšek 1968: 17–21) in Škofji Loki. Kot je bilo že omenjeno, sta bili v Tržiču znani barvarski družini Peharc in Pollak. Mojster Jože Peharc (1790–1856) je pri nas veljal za tehničnega pionirja barvarstva in je v svojem obratu uporabljal najnovejša dognanja barvarske stroke. Na ljubljanski obrtni in industrijski razstavi leta 1844 je razstavil 25 kosov svojih manufakturnih izdelkov, ki so jih označili kot nedosegljive v čisti izdelavi, živih pristnih barvah in odlični apreturi. V njegovi manufakturi so izdelali nad 15.000 kosov barvaste in tiskane kotenine, ki so jo razprodali po alpskih krajih in Primorju. Pri označevanju svojih izdelkov je Peharc uporabljal ročni barvarski model – blagovno znamko svoje manufakture, ki ga je odtiskoval na blago. Model hrani Tržiški muzej. Poleg Peharcev sta se v 1. polovici 19. stoletja v Tržiču uveljavila še Karel Pollak (1772–1855) in njegov sin Gašper Pollak (1800–1880). Karel se je ukvarjal s tkalstvom, barvarstvom in usnjarstvom. Sin Gašper pa se je izučil usnjarstva in je šel po navadi tedanjih tržiških obrtnikov “v fremd”. Popotoval je po Nemčiji in več let prakticiral v tovarni kotenine C. A. Mann v Berlinu. Tu se je tudi izučil tkalstva, barvarstva ter apretiranja, po vrnitvi v Tržič pa je tam ustanovil manufakturo kotenine in barvarno. Tako kot Peharc je tudi Gašper Pollak zasnoval svojo barvarno po novih načelih in svoje izdelke razstavljal na industrijskih in obrtnih razstavah. Na leto je ročno izdelal 6000 kosov tiskanine, ki jo je razprodal na Kranjskem, Koroškem in v Gornji Avstriji. Kmetijske in rokodelske novice so tako kot Peharčeve tudi Pollakove izdelke hvalile kot nedosegljive po vzorcih in kakovostni izdelavi, češ da je ne morejo doseči ne češki ne nemški proizvajalci blaga. Pet modrotiskarskih modelov iz njegove barvarne v Tržiču hrani sedaj Tržiški muzej.8 Tako kot Peharc je tudi Pollak svoje blago označeval z zaščitnim znakom svoje manufakture, tako da ga je odtiskoval na blago. Barvarski model njegove blagovne znamke hrani Slovenski etnografski muzej. Oba manufakturna obrata sta prenehala delati že pred prihodom novih tekstilnih podjetij, ker mojstra v svoji obrti nista imela naslednikov, ki bi šli po njuni poklicni poti.




Tiskarski model Peharčeve barvarne v Tržiču iz 2. polovice 19. stoletja. (Predmet hrani Tržiški muzej v Tržiču; foto: A. Dular, 1999).

Printing block from the Peharc dye works in Tržič from the second half of the 19th century. (Now part of the Tržič Museum collection; photo A. Dular, 1999).




Gašper Pollak (1800–1880), barvar iz Tržiča. (Iz knjige: Kragl 1936, str. 63; foto: A. Dular, 1999).

Gašper Pollak (1800–1880), a dyer from Tržič. (From the book, Kragl 1936, p. 63; photo A. Dular, 1999).

V Kranju je bila barvarska obrt znana v družini Pirc. Sredi 18. stoletja se omenja barvarski mojster Lovro Pirc, njega pa je po smrti leta 1783 nasledil sin Andrej, prav tako barvarski mojster, ki je obrat povečal in ga moderniziral. Po Andrejevi smrti (1808) je barvarno od leta 1809 do 1851 vodil njegov brat Simon, ki je bil tudi izučen barvar. Ko je obrat vodil Simon Pirc, so z ročnimi modeli že tiskali blago in ga barvali v indigu. Iz popisa zapuščinskega inventarja po Simonu Pircu, ki je nastal marca 1852, je razvidno, da so imeli takrat v Pirčevi barvarni med ostalim tudi lesene kadi za indigo, železne obešalnike za blago, tiskalno mizo s potrebščinami, 80 tiskarskih modelov, možnar za drobljenje indiga ter bakreno skledo za tretje indiga in njej pripadajoče železne krogle (Demšar 1990: 184–185). Morda je k tiskarski usmeritvi barvarne pripomogel Simonov sin Matej Pirc (1824–1891), ki je študiral na rudarski akademiji v Banski Štiavnici in bil kasneje ravnatelj rudnika na Toplicah pri Hotavljah (Žontar 1939: 416). Nedvomno se je Matej na Moravskem in Češkem seznanil z modrotiskom in novosti posredoval očetu v Kranj. Da se je zanimal za barvarstvo, kaže tudi to, da je po materini smrti leta 1856 prevzel barvarsko obrt doma in celo razvil manufakturno trgovino, saj je zaposloval okrog 100 tkalcev po vaseh, zlasti v Besnici in loških hribih. Za barvarstvo je navdušil sina Metoda Pirca (1866–1891), ki je posodobil barvarno, skrbel za kvaliteto izdelkov in se vneto posvečal študiju tuje literature o barvanju bombažnih in volnenih tkanin. Bombaž in volno so barvali največ v rdeče, temno modro (indigo), zeleno in črno, barvo pa so uvažali iz Nemčije. Ker so bili izdelki kvalitetni, je bil promet barvarske delavnice zelo velik, saj so naročila za njegove izdelke prihajala iz skoraj vseh slovenskih mest, posebno pa iz Ljubljane. Njegovi odjemalci so bili tudi z Dunaja, iz Prage, Trsta, Linza, Celovca in drugih avstro-ogrskih mest. K Pircu so v 2. polovici 19. stol. nosili barvat blago za rute, obleke, nogavice in druge izdelke kmetje iz okoliških vasi. Deloma so to blago tudi tiskali, saj se je število modrotiskarskih modelov v tistem času v Pirčevi barvarni povečalo. V Narodnem muzeju Slovenije v Ljubljani namreč hranijo okrog 150 modelov za modrotisk,9 ki jih je Kranjski deželni muzej leta 1911 pridobil iz Pirčeve barvarne v Kranju. Verjetno so takrat dokončno prenehali ročno tiskati blago, barvarna pa je prenehala delati leta 1922 zaradi prevelike konkurence cenenih tovarniških izdelkov (Kobe-Arzenšek 1968: 19–20).

Barvarstvo ali “firbarstvo” in modrotiskarstvo je bilo v 18. in 19. stoletju močno razvito tudi na Loškem. To ne preseneča, saj so Škofja Loka in kraji v Poljanski in Selški dolini sloveli po močno razvitem platnarstvu. Sredi 19. stoletja je v škofjeloškem predmestju Karlovec delovalo kar šest barvarjev, bili pa so še v Gorenji vasi, Žireh, Železnikih in Selcih. V Gorenji vasi je bil barvar Franc Oblak, h kateremu so nosili barvat blago kmetje iz Cerknega, Tolminskega in krajev v Poljanski dolini, njegov sin Miklavž, ki ga je nasledil leta 1871 in se je izučil barvarstva pri Pokornu v Karlovcu, pa je barval blago še za kmete iz Selške doline, predvsem Davčarje. Po malem je blago tudi tiskal. Poleg barvarstva se je ukvarjal s kmetovanjem in čebelarstvom. Svoje obrtniško znanje so loški barvarji nabirali in ga izpopolnjevali na Češkem, Moravskem, v Nemčiji in Avstriji. V loškem predmestju so bili znani barvarji Martin Sušnik (r. 1776) in njegov sin Anton, Jakob Eržen (r. 1778), Lovrenc Paušek, Jakob Vilfan. Najpomembnejši med njimi je bil Jurij Pokom (1800–1875), ki je imel v Karlovcu h. št. 33 (po domače pri “Firbarju”) največjo barvarsko delavnico in je tudi najdlje delal. Pokorn se je barvarske obrti učil na svojih pomočniških potovanjih od Strassburga (tu mu je bila leta 1821 izstavljena pomočniška knjižica), Stuttgarta, Westheima, Leipziga do Dresdna. Bil je v Šleziji in na Moravskem, marca 1823 je odšel v Avstrijo in se za štiri leta ustavil v Schenkenfeldnu, kjer se je pri barvarskem mojstru Alojzu Gerbcu leta 1827 izučil za barvarskega pomočnika. Po osmih letih potovanj se je vrnil v Škofjo Loko, se nastanil pri svojem stricu Antonu Pokornu in pri njem verjetno delal kot barvar. Leta 1834 je kupil hišo in v njej ustanovil lastno barvarno. Pri barvanju, tiskanju in monganju blaga so mu pomagali njegovi sinovi in dva barvarska pomočnika z Moravskega. Po očetovi smrti je delavnico prevzel sin France Pokorn, ki pa se je ukvarjal tudi s kmetovanjem. Barvali in tiskali so bombažno blago in domače platno, ki so ga k “Firbarju” prinašali kmetje s Črnega vrha, Stare Loke, Pevna, Trnja, Bodovelj, Šeferta in drugih krajev Selške in Poljanske doline. Iz takšnega blaga so bili narejeni predpasniki, krila, bluze, rute in otroške obleke. Z barvo, ki so jo dobivali s Češkega, so barvali blago največ temno modro, zeleno, mezlan pa tudi v rjavo barvo. Pokornova barvarna je delovala v večjem obsegu do leta 1907, potem pa vse manj do prve svetovne vojne (Gorišek 1959: 162; Sterle 1979: 98–104). Iz Pokornove delavnice v Škofji Loki hrani Slovenski etnografski muzej 39 modelov za modrotisk10 in troje vzorčnikov,11 Loški muzej v Škofji Loki pa 91 modelov, troje vzorčnikov, žensko ruto, nekaj opreme barvarske delavnice, orodja in posod za barvo.12




Jurij Pokorn (1800–1875), barvar iz Škofje Loke. (Iz zasebne zbirke dr. Danila Pokorna iz Ljubljane).

Jurij Pokorn (1800–1875), a dyer from Škofja Loka. (From the private collection of Dr. Danilo Pokorn from Ljubljana).

Poleg omenjenih barvarjev omenimo, da se je v 1. polovici 19. stoletja s češkega Josefstadta (Josefovo) pri Jaromeru priselil v Bohinjsko Bistrico Alojz Wagner (1816–1901), barvarski mojster, ki je tamkaj kmalu ustanovi barvarno. Leta 1846 se je poročil z Ločanko Gertrudo (Jero) Pokorn. V zakonu so se mu rodili otroci, od katerih je postal sin Jože (r. 1847) barvar in kasnejši naslednik očetove barvarne v Bistrici. Sin Alojz (r. 1853) se je barvarstva izučil v Pirčevi barvarni v Kranju (med letoma 1870 in 1873). Leta 1880 se je poročil s tkalko Marjano Justin (ta je nosila barvat svoje stkano blago v Wagnerjevo barvarno v Bohinjsko Bistrico), se preselil v njeno hišo v Radovljico in tam ustanovil svojo barvarsko in tiskarsko delavnico. Tudi njegov sin Anton (r. 1884) je postal barvar in je delavnico po letu 1920 močno posodobil. Takrat je v barvarni prenehal delati oče Alojz, ki je tudi poslednji v Wagnerjevi rodovini tiskal blago z ročnimi modeli. Antonova hči Marija, ki je po drugi svetovni vojni nadaljevala barvarsko obrt v Radovljici, še hrani okrog 20 modelov za modrotisk, ki jih je uporabljal njen stari oče.13




Fotokopija strani iz pomočniške knjižice barvarja Jurija Pokorna iz Škofje Loke. (Iz zasebne zbirke dr. Danila Pokorna iz Ljubljane).

Xerox copy from the assistant’s notebook of dyer Jurij Pokorn from Škofja Loka. (From the private collection of Dr. Danilo Pokorn from Ljubljana).

Posamezne barvarje najdemo tudi po drugih krajih, na primer v Cerknem, kjer je premožna družina Peternelj (vulgo Firbar) imela v začetku 20. stoletja v lasti več hiš, precej zemlje in živine, gostilno in barvarno platna (Bizjak 1986: 58). V Motniku je bilo barvarstvo, klobučarstvo in tkalstvo živo še do 2. polovice 19. stoletja, ko je začelo zamirati. V kraju se je v enem primeru ohranilo domače hišno ime Firbar (Urankar 1940: 80). Iz tega kraja hrani Slovenski etnografski muzej tri modele za tiskanje tkanine.14 V Horjulu so pri “Firbarju” verjetno še v začetku 20. stoletja izdelovali modro barvano in tiskano vzorčasto blago za predpasnike (Ložar 1949: 63). Barvar in tiskar naj bi bil proti koncu 19. stoletja v Mozirju, do druge svetovne vojne pa naj bi deloval tudi barvar v Središču ob Dravi (Makarovič 1974: 60–61). V Mariboru so bili leta 1925 štirje barvarji, med njimi Ludvik Zinthauer,15 ki je tudi tiskal na blago vzorce z ročnimi modeli. Pokrajinski muzej v Mariboru hrani 6 njegovih modelov.16 Zanje ter za modele iz Ferkove zbirke, ki jih omenjam kasneje in jih danes hrani muzej na Ptuju, je Franjo Baš menil, da izvirajo s konca 18. stoletja (Baš, F. 1949: 51).




Vzorčnik – izdelek barvarske delavnice Franceta Pokorna iz Škofje Loke. (Iz fototeke Loškega muzeja v Škofji Loki).

Pattern sheet made at France Pokorn’s dye works in Škofja Loka. (From the Škofja Loka Museum photo archive).

Barvarstvo je bilo razvito še v krajih, kjer so valjali oziroma stopali sukno,17 na primer pri Guštanju, na Fali, v Solčavi, v Mozirju, v okolici Luč v Savinjski dolini. Valjarne sukna so bile v sklopu kmečkega gospodarstva, kot na primer pri Ivanu Kebru ali po domače “pri Vavharju” ali “pri Firbarju” ob Ljubiji pri Mozirju. Tu so, kakor pove že hišno ime, sukno stopali in ga barvali, imeli pa so tudi mongo. Verjetno so pri njem tudi tiskali platno. V Pokrajinskem muzeju v Celju namreč hranijo model iz Kebrove barvarne.18 Sukno so prinašali barvat kmetje h Kebru iz bližnje okolice, iz Solčave, Gornjega grada, slovenjegraške okolice, Javorja, Koprivne, Šentvida, iz Kotelj, Šoštanja, Braslovč in celo iz Motnika (Kotnik 1949: 15).




Alojz Wagner (1853–1941), barvar iz Radovljice. (Iz zasebne zbirke Marije Wagner iz Radovljice).

Alojz Wagner (1853–1941), a dyer from Radovljica. (From the private collection of Marija Wagner from Radovljica).

Pomembna valjalnica (stope) za sukno in raševino in monga je bila v Vitanju (Kotnik 1949: 16), kamor se je iz Mozirja leta 1884 preselil barvar Ivan Hofbauer. Temu ni manjkalo podjetnosti in si je sčasoma s trdim delom in zanimanjem za novosti pri izdelavi in barvanju sukna postavil v Vitanju kar zavidanja vredno obrtno delavnico. V tujini se je razgledoval po najnovejših tkalskih strojih za sukno, naročen pa je bil tudi na takratno nemško strokovno časopisje (Der Spinner und Weber Wochenschrift; Die Textil-Börse).19 Vitanjski župnik, ki je v župnijsko kroniko zapisoval pomembne dogodke za faro in kraj, je o njegovih prizadevanjih napisal: “25. 11. 1922 je otvoril barvar Ivan Hofbauer svojo “tovarno” za sukno. Poslopje stoji ob potoku Hudina blizu Ledinek-ove žage in je stalo s stroji vred okoli 1.360.000 K (340.000 din). Podjetnosti priprostega moža, navadnega barvarja, se vse čudi. Blago, ki se tam proizvaja, je precej drago, pa trpežno ter ga ljudje radi kupujejo.”20

Ivan Hofbauer je v svoji delavnici izdeloval sukno, ki ga je valjal in barval, ukvarjal pa se je še s kmetovanjem in mlinarstvom. V svojem obratu je barval in po potrebi nekako do prve svetovne vojne tiskal platno in kotenino, ki so mu jo prinašali okoliški kmetje. Imel je štiri sinove in hčer, življenjska usoda pa mu ni bila naklonjena. Bolezni in nesreča so v fantovskih letih ugasnile življenja treh njegovih sinov, trikrat mu je tudi pogorelo posestvo.21 Najmlajši sin Alojz in hči Marija sta ostala na domu in pomagala pri obrtniških in drugih gospodarskih opravilih. Alojz Hofbauer se je sploh posvetil barvarstvu in deloma tudi suknarstvu, vendar platna ni več tiskal kot njegov oče. Po očetovi in materini smrti leta 1939 sta Alojz in Marija ostala na Hofbauerjevi domačiji v Vitanju. Obrt pa je takrat že močno nazadovala, saj je med svetovnima vojnama tudi v odročne hribovske vasi začelo prihajati tovarniško izdelano tiskano blago, ki so ga prinašali potujoči kramarji in je na kmetih čedalje bolj nadomeščalo domače tiskano platno (Makarovič 1974: 60). Po očetovi smrti je Alojz Hofbauer tudi uradno prevzel vodenje obrti. V manjšem obsegu so pri Hofbauerju iz volne, ki so jo prinašali okoliški kmetje, še izdelovali sukno, ga valjali (gostili) in tudi barvali. Ko pa je poleti leta 1954 povodenj odnesla leseno žlebovje, s katerim so dovajali vodo na pogonsko kolo valke, je Alojz Hofbauer odjavil valjarsko obrt.22




Hofbauerjeva domačija in barvarna v Vitanju h. št. 108. (Foto: A. Dular, 1999).

The Hofbauer homestead and dye works at 108 Vitanje. (Photo A. Dular, 1999).

Hofbauerjev barvarski in tiskarski obrat je bil kot podobni barvarski obrati opremljen tudi z veliko mongo za likanje blaga, ki so jo poganjali konji, in se je v celoti ohranila do današnjih dni. Žal pa se je pri Hofbauerju do danes ohranilo le malo drobnega barvarskega orodja in naprav; poslopja valke, mlina in barvarne pa nezadržno propadajo. Čeprav se z modrotiskarstvom pri Hofbauerju niso ukvarjali že vrsto let, je delavnica še do časa po drugi svetovni vojni premogla okoli 200 modelov za tiskanje blaga (Makarovič 1974: 60), od katerih jih je okrog 25 uspel pridobiti za svoje zbirke Pokrajinski muzej v Celju,23 97 pa jih hrani Slovenski etnografski muzej v Ljubljani.24 Slednji ima iz te delavnice še nekaj vzorčnih kosov tkanin,25 oblačil,26 barvarskega orodja ter pisnih in slikovnih dokumentov.27




Barvar Alojz Hofbauer iz Vitanja pri delu. (Iz fototeke SEM; foto: B. Kuhar, 1963).

Dyer Alojz Hofbauer from Vitanje at work. (From the SEM photo archive; photo B. Kuhar, 1963).

Barvarska in modrotiskarska obrt je bila verjetno razvita povsod tam, kjer so izdelovali sukno in domače platno, pa tudi v mestih, kar bi lahko preverili z dodatnim terenskim in arhivskim delom. Redki dragoceni modeli za modrotisk in drugi barvarski predmeti so ohranjeni le v muzejih28 in pri nekaterih potomcih barvarskih mojstrov. Mnogi predmetni ostanki modrotiskarske obrti pa so se za vedno izgubili. Muzealije včasih niti ne govorijo o obstoju modrotiskarstva pri nas, saj so bile v naše muzeje prinesene od drugod kot zanimivi likovno-estetski muzejski predmeti,29 včasih pa njihovega izvora niti ni mogoče ugotoviti. Usoda modrotiskarske in barvarske obrti je bila zapečatena z uvedbo sodobnejših barvarskih in tiskarskih postopkov.




Alojz Hofbauer (r. 1910), barvar iz Vitanja. (Foto: A. Dular, 1999).

Alojz Hofbauer (bom 1910), a dyer from Vitanje. (Photo A. Dular, 1999).


Modrotiskarske delavnice in tehnika modrotiska

Barvarske in posebno modrotiskarske delavnice so morale biti dobro opremljene z različnimi pripravami in orodji, kar je zahtevalo precejšen kapitalski vložek. Zato je obrt ponavadi prehajala od očeta na sina. Če ni bilo ustreznega moškega naslednika, so se barvarski pomočniki poročali s hčerami barvarskih mojstrov in tudi z njihovimi vdovami (Domonkos 1981: 44). Pri nas so bile barvarne in tiskarne povečini v sklopu stanovanjskih hiš, v katerih so delavnice zavzemale pritlične in kletne prostore. Nadstropni deli hiš so bili namenjeni stanovanjem barvarskih družin, v večjih manufakturnih barvarnah pa je bila na podstrešju sušilnica blaga. Barvarski obrati so morali biti prostorni, stali so ponavadi ob tekočih vodah, saj je bilo potrebno pobarvano in potiskano blago izpirati v tekoči vodi. Nato so morali blago še sušiti in likati.




Miza za tiskanje blaga. (Barvarna Kluge v kraju Papa na Madžarskem, preurejena v muzej; foto: A. Dular, 1999).

Table for block-printing. (The Kluge factory in Papa, Hungary, now a museum; photo A. Dular, 1999).

Barvarska delavnica Jurija Pokorna iz Škofje Loke je na primer obsegala poseben prostor s sedmimi barvarskimi kotli in dvema kadema, v katerem so blago lužili in ga barvali. Poleg tega prostora je bila še dolga in ozka soba za tiskanje blaga, tako imenovana drukarca, ki je imela dvoje oken (Sterle 1979: 100). V takšnem prostoru je bila posebna miza, na kateri so z modeli tiskali platno, nadalje posebna mizica za rezervo ali barvo in police, na katerih so bili po številkah zloženi tiskarski modeli. Ob koncu 19. stoletja je na primer v Nemčiji premogla povprečna modrotiskarska delavnica od 500 do 1000 modelov, nekatere delavnice so jih imele tudi več (Bachmann, Reitz 1962: 19). Barvarske delavnice pri nas tega števila niso dosegale in so premogle (glede na število ohranjenih primerkov in nekaterih zapisov) največ do 250 ali 300 primerkov.

Pred tiskanjem so morali platno zlikati, da je bilo ravno in gladko. Likanje ali monganje platna so opravljali z napravo, tako imenovano mongo, ki je bila zaradi svoje velikosti v posebni stavbi ali v pritličju barvarne. Monga je bila 4 do 6 m dolg, 2,5 m visok in 1,5 m širok lesen zaboj, v katerem je bilo naloženega do 10 ton kamenja za obtežitev. Pod zabojem so bili na posebni leseni mizni plošči 15 cm debeli in 120 cm dolgi leseni valji, na katere so navili platno, ki so ga hoteli zmongati (zlikati). S posebnim vitlom, ki so ga poganjali konji ali tudi ljudje, so zaboj premikali po valjih z navitim platnom v eno in drugo smer, tako da se je platno zgostilo in zgladilo (Domonkos 1981: 47). Obstajale so tudi manjše, ročne monge, ki so delovale po enakem principu. Pri Pokornu v Škofji Loki je bila velika monga nameščena v skednju poleg barvarne, pri Pollaku v Tržiču je bila mongi namenjena samostojna zgradba poleg barvarne, pri Hofbauerju v Vitanju je bila monga pod posebno leseno zgradbo poleg hiše in barvarne, pri Pircu v Kranju pa v hišnih kletnih prostorih. Danes sta še ohranjeni mongi v nekdanji Pirčevi in Hofbauerjevi barvarni.




Pogonski mehanizem monge v Pirčevi barvarni v Kranju. (Foto: A. Dular, 1999).

The mangle driving mechanism at the Pirc dye works in Kranj. (Photo A. Dular, 1999).

Po tiskanju so platno posušili in ga barvali v hladni indigo kopeli, ki je bila v lesenih ali betonskih kadeh. Pobarvano platno so zatem namakali v blagi kislinski raztopini, da so s platna odstranili rezervo, in ga izprali v čisti vodi. Nato so platno posušili na kolih, rantah, zabitih v zemljo okrog barvarne ali na travnikih. Če je bilo slabo vreme, so platno sušili v sušilnicah na drogovih (grabljah), ki so bili pritrjeni pod hišnim nadstreškom ali na podstrešju barvarn. V nekdanji Pollakovi barvarni v Tržiču (v stavbi, kjer je Tržiški muzej) so še danes na visokem podstrešju ohranjeni tovrstni sušilni drogovi, do katerih so speljane lesene stopnice in iz desk narejeni dohodni odri. Nadstrešek z grabljami je ohranjen tudi na nekdanji Pokornovi hiši v Škofji Loki. Suho pobarvano in potiskano platno so potem še enkrat zmongali.

Poleg pohištva, večjih bakrenih kotlov in kadi, likalnih priprav, motovil, železnih obročev za napenjanje tkanine, vitlov in škripčevja so bili v barvarskih in tiskarskih delavnicah neobhodno potrebni še številni manjši delovni pripomočki, kot na primer barvarski čebri, škafi, grebljice za mešanje barve in tkanin v kotlih, stiskalnice, možnarji, bakrene in železne sklede, priprave za tretje barv itn. Sredi 19. stoletja je že omenjena Pirčeva barvarna v Kranju premogla mongo s šestimi valji, katere vrednost je bila s pripadajočim orodjem ocenjena na 123 goldinarjev. V barvarni je bilo še sedem različnih bakrenih barvarskih kotlov ter tri večje macesnove kadi za mešanje barv in barvanje ter železni obroči, s katerimi so potapljali blaga v barvo, vrednost vsega naštetega so ocenili na 146 goldinarjev in 30 krajcarjev. Orodje v barvarski delavnici je med drugim obsegalo sedem funtov težko bakreno skledo za mletje indiga, ta je veljala 3 gld. 30 krc., in tej skledi pripadajočih šest železnih krogel, ki so jih ocenili na 1 gld. 30 krc. Tu so bili še možnar za drobljenje indiga – 3 gld., kad za luženje, pranje, z železnimi obroči – 1 gld., kad za vodo – 45 krc., dva srednja barvarska čebra – 1 gld. 12 krc., kad za hlajenje platna – 45 krc., štirje manjši barvarski čebri – 1 gld. 20 krc., štirje manjši barvarski čebri 48 krc., štirje škafi za barvo in istočasno za vodo – 24 krc., dve vreteni – 1 gld., bakren škaf za barve – 1 gld., lesen škaf za barve – 6 krc. itd. Za tiskanje blaga so uporabljali mizo, ki je veljala 1 gld., osemdeset modelov za tiskanje blaga pa je bilo vrednih 20 gld. – vsak model po 15 krc. (Demšar 1990: 185).

Kot je bilo že omenjeno, so barvarji sprva tiskali predvsem domače laneno ali konopljeno platno in kasneje bombažne tkanine. Kmetje, ki so prinašali blago v barvanje ali tiskanje, so kot dokazilo ob oddaji blaga dobili od barvarja okroglo, kvadratno ali rombasto medeninasto ploščico z dvema luknjicama, tako imenovani roš (Kobe-Arzenšek 1968: 19), na kateri so bile puncirane črke in številke. Dvojnik te ploščice je obdržal barvar in ga prišil ali z vrvico privezal na prineseni kos tkanine. Barvar si je v zvezek zapisal oznake na ploščici, ime prinašalca blaga in seveda njegove želje glede barvanja in tiskanja. Obe medeninasti ploščici sta imeli vlogo rovaša, tako da je po tiskanju in barvanju blago spet prišlo v roke pravega lastnika. Tovrstno označevanje tkanin, ki so jih prinašali v barvanje, je bilo splošno razširjeno po evropskih barvarnah. Inicialke na ploščici so označevale barvarjevo ime in priimek, številka pa je pomenila numerično oznako prinesenega blaga, pod katero je bil zapisan lastnik in njegove želje. Vsak barvar je imel na svoj način oblikovane in označene ploščice. Barvarja Ivan Hofbauer in kasneje njegov sin Alojz iz Vitanja sta imela ploščice s svojima inicialkama. Alojz Hofbauer je poleg inicialk uporabljal še dodatno verzalko, ki je označevala pokrajino ali kraj, iz katerega je bil lastnik blaga.30 Podobne ploščice so ohranjene tudi iz Pirčeve barvarne v Kranju.




Železne krogle in skleda za tretje indiga. (Iz knjige: Vydra 1954, sl. 52; foto: A. Dular, 1999).

Iron balls and a bowl for crushing indigo. (From the book: Vydra 1954, pl. 52; photo A. Dular, 1999).




Železne krogle za tretje indiga iz Hofbauerjeve barvarne v Vitanju. (Predmete hrani SEM; foto: A. Dular, 1999).

Iron balls for crushing indigo from the Hofbauer dye works in Vitanje. (Now part of the SEM collection; photo A. Dular, 1999).

Stranke so se o vrsti vzorca, ki so ga želele imeti natisnjenega na platnu, odločale s pomočjo vzorčnih predlog. Vsak barvar, ki je tiskal vzorce na blago, je imel modele z različnimi vzorci. Modeli so bili na čelnih ploskvah oštevilčeni z arabskimi ali rimskimi številkami in po njihovem številčnem redu tudi zloženi na police v tiskarski sobi. Da bi stranke lažje izbirale vzorece, s katerimi naj bi jim barvar potiskal prineseno blago, so imeli barvarji na voljo odtise svojih modelov na blagu ali na papirju, tako imenovane vzorčnike in vzorčne knjige. Vzorčniki so bili kosi modro pobarvanega blaga, na njih pa so bili po številčnem zaporedju drug poleg drugega natisnjeni beli ali večbarvni vzorci posameznih barvarjevih modelov. Številka vzorca na vzorčniku je bile enaka številki vzorca na ustreznem modelu. Enak sistem označevanja je bil tudi pri vzorčnih knjigah, le da so bili tam vzorci ponavadi odtisnjeni na modro ali črno barvani papir, listi pa speti ali zvezani v zajetnejšo knjigo oziroma katalog vzorcev. V barvarski firmi Kluge na Madžarskem je bilo tudi več vzorčasto postiskanih manjših kosov blaga prilepljenih na trši papir. Vsak kos blaga je imel svojo številko, listi pa so bili zvezani v zajeten album vzorcev (Domonkos 1983: 32–34). Po doslej znanih podatkih se pri nas vzorčne knjige niso ohranile, morda jih barvarji sploh niso imeli. Ohranjeni pa so že omenjeni vzorčniki iz Pokornove barvarne in so zdaj v zbirkah Loškega muzeja ter Slovenskega etnografskega muzeja.




Medeninasti ploščici barvarjev Ivana in Alojza Hofbauerja iz Vitanja za označevanje blaga. (Predmeta hrani SEM; foto: A. Dular, 1999).

Two brass plates which dyers Ivan and Alojz Hofbauer, both from Vitanje, used for marking textiles. (Now part of the SEM collection; photo A. Dular, 1999).

Pred tiskanjem so blago najprej lužili, škrobili, sušili in mongali. Glede na opremo, orodje in povezave s tujimi modrotiskarji so barvarji na Slovenskem v začetku barvali in tiskali blago po rezervnem postopku, pri katerem so na belo tkanino z modelom nanesli rezervo, neke vrste kašasto lepilo, in nato blago pobarvali v modri indigo kopeli. Kasneje se je uveljavil tudi jedkalni postopek tiskanja, pri katerem so dosegli z reduciranjem osnovne modre barve na blagu enake učinke belih vzorcev kot z rezervnim tiskom. Za bele vzorce na modri osnovi so uporabljali odporno rezervo, ki je preprečevala dostop barve do tkanine. Takšna osnovna rezerva je bila sestavljena iz 60 delov kaolina, 18 delov gumi arabike, 1 dela masti (loja), 9 delov svinčevega sladkorja, 9 delov svinčevega sulfata, 12 delov bakrenega vitriola, in 1/2 dela galuna. Mešanici so dodali vodo in jo kuhali toliko časa, da je nastala kašasta lepljiva zmes. Da so dosegli pravo viskoznost rezerve, so jo mešali z ocetno kislino. Vsak tiskar je imel tudi svoj lastni recept za pripravo rezerve (Vydra 1954: 35), kar je bila velikokrat skrbno varovana skrivnost. V Papi na Madžarskem so v barvarski firmi družine Kluge uporabljali posebne kodirane znake za posamezne kemične spojine, ki so jih uporabljali pri izdelavi barvnih kopeli in rezerve, da bi na ta način ohranili skrivnost svojih receptur. Že omenjeni barvar in tiskar Jurij Pokorn iz Škofje Loke pa si je na svojih pomočniških potovanjih zapisoval skrivnosti receptur za različne rezerve, “pajce”, in barve v svojo pomočniško knjižico. Te recepte je potem kot mojster s pridom uporabljal v svoji barvarni (Sterle 1979: 98–99). Poleg belih vzorcev so modrotiskarji lahko tiskali na blago tudi svetlo ali temno modre, rumene, zelene ali oranžne vzorce. To so dosegli tako, da so blago poprej barvali in ga nato tiskali, ali pa so osnovni rezervi dodajali različne kemične dodatke, največkrat kromove soli. Pri večbarvnih vzorcih so morali blago večkrat tiskati, sušiti in barvati, kar je zahtevalo dodaten čas in tiskarsko znanje (Domonkos 1981: 50; Balfour-Paul 1998: 162; Bachmann, Reitz 1962: 40).




Polica z barvami, kemikalijami in posodami za kislino. (Barvarna Kluge v kraju Papa na Madžarskem, preurejena v muzej; foto: A. Dular, 1999).

Shelf with dyes, chemicals and acid containers. (The Kluge factory in Papa, Hungary, now a museum; photo A. Dular, 1999).

Miza, na kateri so tiskali, je bila pregrnjena s polstjo in belo tkanino. Nanjo so potem položili za tisk pripravljeno platno. Poleg tiskarske mize je stala kvadratna mizica s predalom (60 X 60 cm), v katerem je bil oblazinjen okvir z rezervo (podobno kot pri blazinicah za štampiljke). Tiskar je na model nanesel rezervo tako, da ga je pritisnil na blazinico, ki je bila prepojena z rezervo. Z modelom je nato odtisnil rezervo na platno. Po vsakem odtisu je moral tiskar ponovno nanesti rezervo na model. Pri raportnih modelih je moral biti tiskar zelo pazljiv, da je model nastavil natančno na točke nastavitvenih žebljičev in tako pravilno ujel nadaljevanje vzorca na platnu v njegovi vzdolžni in prečni smeri. Širina tiskanega platna je bila dva- ali trikratnik širine tiskarskega modela, kar je poenostavilo tiskanje in omogočilo polno dokončanje vzorca na obeh robovih platna. Tiskar je moral tiskati v enakomernem ritmu in modela ni smel premočno pritisniti na platno, če je želel doseči lep vzorec. Ponekod so po modelu potolkli z lesenim kladivom, da se je vzorec enakomerno odtisnil. Tiskar je dnevno lahko potiskal od 120 do 150 metrov platna, dolžina pa je bila odvisna tudi od velikosti modela (Domonkos 1981: 50–51). Blago so tiskali tudi obojestransko. Pred barvanjem blaga se je morala natisnjena rezerva dobro posušiti.

Za kakovostno barvanje je bila nadvse pomembna pravilna priprava barvarske kopeli. Pred uporabo indiga so za modro barvilo uporabljali silino (Isatis tinctoria), rastlino, ki je bila v Evropi ves srednji vek najbolj uporabljano modro barvilo. Gojili so jo največ v Franciji, pa tudi v Nemčiji, Italiji, na Nizozenskem in kasneje v Angliji (Balfour-Paul 1998: 33). Ko pa so v 17. stoletju začeli za barvanje uporabljati indigo, je uporaba siline znatno upadla. Indigo (Indigofera tinctoria) je rastlina, ki vsebuje tudi do tridesetkrat več barvila kakor silina. Zato je bila njegova uporaba ekonomsko precej ugodnejša. Prednost barvanja z indigom je bila tudi v tem, da so blago lahko barvali v hladni indigo kopeli, ki je imela le od 20 do 24 stopinj Celzija. Iz listov te rastline so z ekstrakcijo pridobili indigo barvilo, ki je prihajalo v Evropo v kristalizirani grudasti obliki. Najboljše vrste indiga, ki so vsebovale 40–60 % modrega barvila, so prihajale na evropski trg z Jave, iz Bengalije in Gvatemale (Vydra 1954: 39). Loški barvarji so dobivali indigo posredno – na Dunaju; barve so prihajale k njim tudi s Češkega (Gorišek 1959: 163; Sterle 1979: 99), barvarji Pirci v Kranju pa iz Nemčije. Največkrat jo je dobavila firma S. G. Farbwerke Mainz a. Rhein (Kobe-Arzenšek 1968: 19–20).

Za pripravo barve so indigo strli v možnarju in ga nato v bakreni posodi z železnimi kroglami še zdrobili v prah. Za indigo kopel so na primer modrotiskarji v Stari Lubovni na Slovaškem uporabili 5 kg tako zdrobljenega indiga, 4,5 kg žveplene kisline, 5 kg apna in 1000 litrov vode. Ta barvarska kopel je bila prvotno shranjena v okroglih 2,5 m globokih in 1,5 m širokih lesenih kadeh, kasneje pa so jih nadomestili okrogli betonski kontejnerji, vdelani v tla barvarne. Potiskano blago so barvali tako, da so okrog 25-metrski kos blaga napeli na železen obroč, tako imenovani ram. Tega so s pomočjo škripca, ki je bil pritrjen na stropu nad kadjo, spuščali v barvo in ga dvigovali iz nje. Blago so namočili sedemkrat, med vsakim namakanjem pa so blago pustili na zraku po deset minut, da je barva oksidirala in s tem postala netopna v vodi. Potem so blago na obroču obrnili, tako da so spodnji del blaga pritrdili na obroč in postopek barvanja ponovili. Na ta način so dosegli, da se je blago po vsej svoji širini in dolžini enakomerno obarvalo. Intenzivnost barve na blagu je segala od svetlo modre do skoraj črne in je bila odvisna od števila potapljanj blaga in od recepture barvne kopeli, ki jo je pripravil barvar. Barvanje v indigu je omogočalo barvne kombinacije: belo-svetlo-temno modro; svetlo-temno modro; zeleno-svetlo modro; temno modro z rumenim vzorcem ter temno modro z rumenim in zelenim vzorcem. Blago so po barvanju posušili, ga oprali v blagi raztopini žveplene kisline, da so odstranili rezervo, in ga dobro izprali v tekoči vodi (Vydra 1954: 40–41). Nato so blago še škrobili, “štirkali”, posušili in zmongali ter uskladiščili, dokler ga niso oddali strankam ali pa prodali na sejmih. Pri blagu, ki so ga prinesli kmetje, je bil barvarjev zaslužek v barvanju in tiskanju blaga. Kasneje so barvarji sami kupovali kotenino, jo barvali in tiskali ter s prodajo tega blaga tudi nekaj več zaslužili (Makarovič 1974: 64).




Tiskanje blaga z ročnim modelom. (Iz knjige: Vydra 1954, sl. 50; foto: A. Dular, 1999).

Textile printing with a hand-held printing block. (From the book: Vydra 1954, pl. 50; photo A. Dular, 1999).




“Ram”– železni obroč s kavlji za napenjanje blaga iz Hofbauerjeve barvarne v Vitanju. (Predmet hrani SEM; foto: A. Dular, 1999).

A ram - an iron hoop for stretching fabric, Hofbauer dye works, Vitanje. (Now part of the SEM collection; photo A. Dular, 1999).




Vrsta barvarskih betonskih cistern z indigo barvilom in “ramom”, na katerem je napeto potiskano blago. (Barvarna Kluge v kraju Papa na Madžarskem, preurejena v muzej; foto: A. Dular, 1999).

A row of concrete dye vats with indigo dye and the ram on which the dyed textiles are stretched. (The Kluge factory in Papa, Hungary, which has been turned into a museum; photo A. Dular, 1999).


Uporaba modro tiskanega blaga

V oblačilnih materialih plemstva in meščanstva so v 1. polovici 19. stoletja že prevladovali strojno izdelana vzorčasta svila, bombaž in žamet ter fino izdelane vrste lanenega, bombažnega platna in finega sukna ter druge vrste volnenega blaga. Ta blaga so bila modrih, rdečih, zelenih in drugih barv, krašena pa so bila tudi s pestrimi cvetličnimi in geometrijskimi vzorci. Lanene, volnene, svilene in bombažne tkanine pestrih barv in vzorcev so k nam uvažali; fino platno na primer iz Češke, Moravske, Šlezije in Avstrije, volneno blago industrijske izdelave iz Brna, Liberca in z Dunaja, svilo z Dunaja. Oblačilne materiale so pri nas oglaševali graški in dunajski trgovci, pa tudi trgovci iz Češke in Moravske (Baš, A. 1985: 59).

Modrotiskarska dejavnost je bila predvsem odvisna od povpraševanja in porabe modrovine pri kmeticah. Oblačila kmetov so bila skoraj vse do sredine 19. stoletja (kljub temu da izdelovanje bombažnega blaga od leta 1762 ni bilo več privilegij) pretežno iz doma ali pri podeželskih tkalcih narejenega platna ali sukna. Blago domače proizvodnje je bilo za pražnja oblačila povečini krašeno z vezenjem, našitimi čipkami ali uvoženimi okrasnimi trakovi, resami in okrasnimi šivi ter gubanjem. Krasilno podobo pa so dajali blagu tudi z barvanjem (Žagar 1998: 99). Vendar pa so se že od začetka 19. stoletja pojavljali v prazničnih oblačilih kmečkega primestnega prebivalstva tudi kupivni, industrijsko izdelani materiali, kot so svila, žamet in zlasti bombaž. Šlo je seveda za oblačila premožnejših kmetov in kmetic. Na slovenskem Štajerskem so bili v začetku 19. stoletja posamezni oblačilni kosi kmečke praznične noše narejeni tudi iz pisanega katuna, cica ali potiskanega platna. Na akvarelu Karla Russa iz leta 1811 je upodobljena kmetica iz Savinjske doline, ki ima predpasnik iz modro tiskanega blaga z belimi in rumenimi cvetovi (Geramb 1935: 229). V istem času so v okrajni gosposki Rogatec kmetje pozimi nosili poleg drugega tudi telovnike iz katuna (Baš, A. 1984: 46). Za okraj gosposke grad Slivnica pri Mariboru pa je za leto 1814 izpričano, da so bogatejši kmetje nosili ob prazničnih dneh med drugim telovnike, ki so bili iz bombažnega blaga ali potiskanega platna, ženske pa so za praznične dni nosile krila iz cajga in predpasnike iz cajga, katuna ali potiskanega platna (Baš, A. 1984: 35–36).

Prav tako so začeli v 30. letih 19. stoletja uporabljati bombažne tkanine za praznične obleke tudi na Gorenjskem, Dolenjskem in Notranjskem (Baš, A. 1985: 63–68). Za čas pred sredino 19. stoletja je za ženska vrhnja oblačila, predvsem za predpasnike in krila, postalo priljubljeno tudi barvasto in potiskano domače platno. Tako so v 30. letih 19. stoletja ženske na Koroškem v okolici Beljaka in Kaple nosile krila iz domačega modro potiskanega platna, v gospostvu Dobrla vas pa modre in črne platnene in rožaste predpasnike. V istem času so ženske na Notranjskem v gospostvu Planina nosile predpasnike iz potiskanega ali barvanega platna, v gospostvu Postojna pa krila iz različno barvanega platna s črtastimi, karirastimi in rožastimi vzorci. Podobne predpasnike iz domačega barvanega in potiskanega platna naj bi v tem času nosile tudi ženske v gospostvu Ruperčvrh na Dolenjskem (Makarovič 1974: 54–55; Baš, A. 1984: 104).




Kmetica iz Savinjske doline s predpasnikom iz modro tiskanega blaga. Akvarel Karla Russa iz leta 1811. (Iz knjige: Geramb 1935, sl. 140; foto: A. Dular, 1999).

Farm woman from the Savinja valley with a blue-printed apron. A watercolor by Karel Russ from 1811. (From the book: Geramb 1935, pl. 140; photo A. Dular, 1999).

Goldensteinovi akvareli31 kranjskih noš iz 30. let 19. stoletja, ki so bili osnova za kasnejše reproducirane upodobitve v bakrorezni tehniki, in Kordeševi komentarji teh upodobitev (oboje objavljeno v Carnioliji leta 1844) dokazujejo, da sta se v kmečki pražnji noši takrat že uveljavila bombaž in svila in da je bilo zlasti pri vrhnjih ženskih oblačilih, kot na primer pri predpasnikih, običajno tudi glajeno modro barvano platno. To je bilo ponekod potiskano z belimi pikami. Takšen predpasnik naj bi nosile kmetice iz okolice Ljubljane, Smlednika, Bohinja (Stopar 1993: 57, 61, 85), in na Notranjskem. Po Goldensteinovi upodobitvi kmečke noše v ljubljanskem predmestju Trnovo (Stopar 1993: 69), ki pa je rekonstrukcija starejše noše, in iz njenega opisa32 bi lahko sklepali, da so modro tiskano blago za predpasnike poznali pri nas že ob koncu 18. stoletja. Vendar pa je bilo to verjetno trgovsko kupivno blago, saj barvarskih obratov, ki bi se ukvarjali tudi z modrotiskom, takrat pri nas še ni bilo.




Ženska noša z Notranjskega. Akvarel F. K. Goldensteina iz leta 1838. (Iz Korytkove zbirke Słowianśćyzna. Hrani SEM; foto: J. Žagar, 1999).

Woman’s costume, Notranjska. A watercolor by F.K. Goldenstein from 1838. (From the Korytko Słowianśćyzna collection. Now part of the SEM collection; photo J. Žagar, 1999).

V 2. polovici 19. stoletja se je uporaba modrovine močneje razširila. Akvarelne podobe kmečkih noš iz tega časa, ki jih je upodobil Nikola Arsenovič, kažejo, da so bili takrat v navadi oblačilni materiali z modrimi, rdečimi in zelenimi barvnimi odtenki, potiskani s cvetličnimi vzorci, progami, pikami in kvadrati (Makarovič 1968: 100). Modrovina se je zlasti razširila na delovna oblačila in proti koncu stoletja, posebno pri premožnejših v Slovenskih Goricah, na posteljno perilo, kot so pregrinjala, narejena iz modrega tiska z rožami. V začetku 20. stoletja so v okolici Vitanja nosile ženske oblačila iz potiskanega platnenega ali bombažnega blaga, iz enakega materiala pa so bile moške delovne srajce v vitanjski okolici in v Prlekiji. Industrijsko izdelana modrovina je na Slovenskem postala na začetku 20. stoletja zlasti priljubljena pri podeželskih ženskih oblačilih (obleke in predpasniki), delovne predpasnike iz modrovine, ki je bila na obeh stranih potiskana, pa so nosile tudi mestne gospodinje. Priljubljenost modro tiskanega blaga pa se je nadaljevala tudi med obema svetovnima vojnama in po drugi svetovni vojni (Makarovič 1974: 55, 57). Ročno ali strojno modro tiskano domače platno in bombaževino so uporabljali tudi za podlaganje in utrjevanje delovnih in prazničnih oblačil in pokrival.33




Ženska noša iz ljubljanskega predmestja Trnovo. Grafični list po akvarelu F. K. Goldensteina iz leta 1838. (Iz zbirke grafičnih listov po akvarelnih upodobitvah kranjskih noš F. K. von Goldensteina iz leta 1838. Hrani SEM; foto: A. Dular, 1999).

Woman’s costume, Ljubljana suburb of Trnovo. Printed after a watercolor by F. K. Goldenstein from 1838. (From the print collection of F. K. von Goldenstein from 1838. Now part of the SEM collection; photo A. Dular, 1999).




Ženska noša iz Smlednika. Akvarel F. K. Goldensteina iz leta 1838. (Iz Korytkove zbirke Słowianśćyzna. Hrani SEM; foto: J. Žagar, 1999).

Woman’s costume, Smlednik. A watercolor by F.K. Goldenstein from 1838. (From the Korytko Słowianśćyzna collection. Now part of the SEM collection; photo J. Žagar, 1999).

Vpliv starejših modro tiskanih tkanin pa je opazen pri ženskih poletnih oblačilih tudi v sedanjem času. Lahke, industrijsko izdelane obleke s kratkimi rokavi, bluze ali krila iz bombaža ali drugih materialov se zgledujejo po barvnih in vzorčastih predlogah iz preteklosti. Drobni cvetlični in geometrijski motivi sodobnih tekstilnih oblikovalcev nas spominjajo na bidermajerske vzorce z ročnih kovinskih modelov za modrotisk. Prenekateri plastični namizni prti, ki so na podeželju in tudi v mestih ob vsakdanjikih prekrivali mize, nas spominjajo na strukturo modro tiskanih vzorčnikov. Motiviko in kompozicijo vzorčnikov lahko odkrivamo še na plastičnih trgovinskih vrečkah iz naših prodajaln. Ti predmeti, ki so prišli k nam kot tuji uvoženi trgovski izdelki, kažejo, da so se na njih upodobljeni vzorci prenašali na sodobnejše materiale in tudi na predmete drugovrstne namembnosti. Njihova krasilna vloga se tudi na teh novih izdelkih ni spremenila, tako da baročni in bidermajerski vzorci, ki so jih sodobni oblikovalci dopolnili s sodobnimi stiliziranimi motivi, povezujejo ornamentiko 18. in 19. stoletja s sodobnim industrijskim oblikovanjem sedanjega časa.




Ženska noša iz okolice Ljubljane. Akvarel F. K. Goldensteina iz leta 1838. (Iz Korytkove zbirke Słowianśćyzna. Hrani SEM; foto: J. Žagar, 1999).

Woman’s costume, Bohinj. A watercolor by F.K. Goldenstein from 1838. (From the Korytko Słowianśćyzna collection. Now part of the SEM collection; photo J. Žagar, 1999).




Ženska noša iz okolice Ljubljane. Akvarel F.K. Goldensteina iz leta 1838. (Iz Korytkove zbirke Słowianśćyzna. Hrani SEM; foto: J. Žagar, 1999).

Woman’s costume, near Ljubljana. A watercolor by F. K. Goldenstein from 1838. (From the Korytko Słowianśćyzna collection. Now part of the SEM collection; photo J. Žagar, 1999).




Avba iz Roža na Koroškem, podložena z modro tiskanim blagom, iz 2. pol. 19. stoletja. (Predmet hrani SEM; foto: A. Dular, 1999).

Head-dress from Rosegg, Austria, lined with blueprinted material, from the second part of the 19th century. (Now part of the SEM collection; photo A. Dular, 1999).




Plastični namizni prt, potiskan po predlogah za modrotiskarske vzorčnike. (Predmet hrani SEM; foto: A. Dular, 1999).

Plastic tablecloth with the design of a blue-printing pattern sheet. (Now part of the SEM collection; photo A. Dular, 1999).




Plastični nakupovalni vrečki, uvoženi iz Italije za potrebe slovenskih trgovcev, potiskani po vzorčnih predlogah za modrotiskarske vzorčnike. (Predmeta hrani SEM; foto: A. Dular, 1999).

Two plastic shopping bags, imported from Italy for Slovene manufacturers, with the design of a blue-printing pattern sheet. (Now part of the SEM collection; photo A. Dular, 1999).


Zbirka modelov za modrotisk v Slovenskem etnografskem muzeju

Nastanek zbirke modelov za modrotisk sega v leto 1906, ko je takratni Deželni muzej Rudolfinum v Ljubljani kupil od Marije Pokorn iz Škofje Loke štirideset modelov za modrotisk, vsakega po 6 kron.34 Med kupljenimi modeli, ki so jih uporabljali v Pokornovi barvarski delavnici (pri “Firbarju”) v škofjeloškem predmestju Karlovec št. 33, danes Kopališka ul. 8, je bilo šest dvojnih. Skupno je torej muzej pridobil 46 kosov. Posamezne kose so inventarizirali leta 1914 v dveh skupinah, in sicer od št. 2900 do 2907 ter od št. 6471 do 6508. Vsak kos je dobil inventarno številko kot samostojen predmet, ne glede na to, če je bil morda del dvodelnega modela. Tako se je sled za dvojnimi modeli Pokornove barvarne sčasoma zabrisala.35 V letih 1924/25 so bili modeli za modrotisk preneseni iz Narodnega muzeja v Kraljevi etnografski muzej, ustanovljen leta 1923, in so med 3502 prevzetimi muzealijami predstavljali prvi fond novega etnografskega muzeja.36 Ob pripravi tega kataloga je bilo 10 modelov reinventariziranih s številkami Slovenskega etnografskega muzeja, za pet modelov je bilo ugotovljeno, da sodijo v tip dvodelnih modelov ter jih zato v katalogu obravnavamo kot samostojne kataloške enote s po dvema kosoma (modeloma), dva modela iz Pokornove delavnice pa v katalogu nista upoštevana.

Naslednje modele za tiskanje blaga je muzej pridobil pred drugo svetovno vojno, ko je od Alberta Korinška iz Ljubljane odkupil tri modele za modrotisk iz Motnika. Razen podatkov o prodajalcu in o kraju, od koder modeli izhajajo, zanje v inventarni knjigi ni nikakršnih drugih informacij.

Tretjo skupino tiskarskih modelov je za Slovenski etnografski muzej pridobila ekipa muzejskih delavcev, ki je leta 1963 raziskovala v Vitanju in okoliških krajih. Od barvarja Alojza Hofbauerja iz Vitanja h. št. 108 je muzej odkupil sto modelov za modrotisk, ki jih takrat pri barvarskem delu niso več uporabljali. Poleg modelov je muzej od Hofbauerja odkupil tudi nekaj kosov oblačil in vzorcev blaga, ki so bili potiskani v tej barvarni. Pridobljeni modeli so bili inventarizirani od št. 9513 do 9610 ter 10009 in 10010. Ob pripravi kataloga je bilo ugotovljeno, da sodi en model v tip dvodelnega modela in je v katalogu obravnavan kot samostojna kataloška enota z dvema kosoma (modeloma), dva modela iz Hofbauerjeve delavnice pa v katalogu nista upoštevana.

Poleg omenjenih muzealij ima Slovenski etnografski muzej še model iz Pollakove barvarne v Tržiču, za katerega ne vemo, kdaj in kako je prišel v muzej, in sedem modelov, ki jim ne moremo določiti ne izvora, ne časa in načina, kako so bili pridobljeni. Ti modeli in model iz Pollakove barvarne so bili inventarizirani šele ob pripravi tega kataloga.

Modele za modrotisk iz zbirke Slovenskega etnografskega muzeja lahko označimo po več kriterijih, glede na tip modela na primer na eno- in dvodelne (sestavljene) modele. Večina modelov v muzejski zbirki je enodelnih, le za šest modelov37 je bilo med študijem zbirke ugotovljeno, da so dvodelni, torej sestavljeni iz dveh kosov. S takšnimi modeli se je lahko tiskalo dvobarvni vzorec na modri podlagi. Po načinu, kako so z modelom tiskali vzorec na blago, razlikujemo med modeli, ki so namenjeni za sosledno oziroma raportno tiskanje, in modeli za pečatno tiskanje. Pri prvih se vzorec na blagu neprekinjeno ponavlja v določenem razmaku. V to skupino prištevamo tudi modele za tiskanje bordur, ti imajo specifično podolgovato in ozko obliko in so namenjeni krašenju robnih ploskev tkanin. Pri pečatnih modelih38 je vzorec na tkanini zaključena in neponavljajoča se celota. Takšne modele so na primer uporabljali za krašenje kotnih delov rut in prtov ali zaključnih motivov na njih, lahko pa so predstavljali blagovno znamko proizvajalca. Modele nadalje lahko razvrstimo po materialih, iz katerih je narejena modelova osnovna ploskev. Po tej delitvi so modeli leseni, kovinski ali kombinirani leseno-kovinski. Modele lahko po vzorcu na njegovi osnovni ploskvi delimo na modele z rastlinsko, živalsko, geometrijsko in geometrijsko-rastlinsko motiviko.

Glede na motiviko, način izdelave ter vrsto materiala, iz katerega so narejeni vzorci na osnovni ploskvi modelov, ter po analogiji z drugimi modeli, ki jih poznamo iz literature, lahko večino modelov v zbirki Slovenskega etnografskega muzeja uvrstimo v 19. stoletje. To je tudi čas, ko je bilo ročno modrotiskarstvo na Slovenskem v največjem razmahu. Modrotiskarji na Slovenskem so v 1. polovici 19. stoletja, ko je ta panoga barvarstva pri nas dobivala zagon, kupovali na tujem vzorčaste modele, ki so bili povečini odraz takratne evropske bidermajerske mode, v kateri je prevladovala cvetlična ornamentika. Bidermajerska moda se je uveljavila najprej pri meščanskih oblačilih, kasneje pa je tovrstno okrasje prešlo tudi na dele kmečke noše, saj so bili vtkani in tiskani drobni cvetlični vzorci blizu lepotnemu okusu kmečkega prebivalstva. Med najstarejše tiskarske modele v zbirki SEM bi lahko uvrstili enodelne lesene raportne in pečatne modele z rastlinskimi vzorci (kat. št. 31, 45, 65) ter verjetno kombiniran lesenokovinski model (kat. št. 26), nadalje kombinirane leseno-kovinske modele, kjer kovinski žebljiči in ploščice bistveno dopolnjujejo cvetlični ornament v njegovih najbolj drobnih detajlih.39 Lesene modele s kovinskimi aplikacijami so v Evropi poznali že v 2. polovici 18. stoletja, saj je že rokokojski okras zahteval drobne in prefinjene cvetlične detajle, ki jih je bilo mogoče doseči s kovinskimi žebljiči. Razvojna pot modelov se je nadaljevala v tip modela z zgolj kovinskimi aplikacijami, ki je prišel do popolne veljave v bidermajerski dobi. Kompozicija vzorcev na raportnih modelih tega časa je pripomogla k poenostavljanju cvetličnih motivov in k njihovi stilizaciji do stopnje, ko ne moremo več govoriti o naravnih cvetličnih oblikah. Bidermajerska moda pa je pripomogla tudi k ustvarjanju novih krasilnih prvin, zlasti različnih geometrijskih oblik, in s tem tudi modelov s kombiniranim rastlinsko-geometrijskim vzorcem. Na tovrstnih modelih je še razpoznavna bidermajerska kompozicija, ta pa se začne izgubljati pri modelih s čisto geometrijsko formo.

Modeli z močno stiliziranimi rastlinskimi in geometrijskimi vzorci oziroma liki predstavljajo več kot tretjino modelov v zbirki Slovenskega etnografskega muzeja. Njihova krasilnost sega od preprostih pikastih vzorcev različnih velikosti in gostot, valovnic, cikcak, meandrastih in labirintnih vzorcev do posameznih geometrijskih likov ali zapletenih struktur, ki jih na osnovni ploskvi modela tvorijo različni geometrijski liki. Posebno skupino tvorijo že omenjeni dvodelni modeli, katerih vzorčna celota nastane z dvojnim tiskanjem modelov na tkanino.40

Kot je bilo že omenjeno, hrani Slovenski etnografski muzej poleg modelov še nekaj modro tiskanih tekstilij – tri vzorčnike iz Pokornove barvarne v Škofji Loki in nekaj tekstilnih vzorcev in oblačil iz Hofbauerjeve barvarne v Vitanju. Žal je ročno tiskane modrovine v tekstilnih zbirkah slovenskih muzejev zelo malo. Tako tudi primerjava med vzorci na modelih, ki jih hranijo naši muzeji, in dejansko uporabo tovrstnega blaga ni možna v tolikšni meri, kakor bi si želeli. Ročno modro tiskano blago, ki se je od 2. polovice 19. stoletja čedalje bolj uporabljalo tudi za vsakdanja in delovna oblačila, pač ni bilo zanimivo za zbiratelje. Zaradi vsakodnevne uporabe so se oblačila iz tovrstnega cenenega blaga hitro obrabila, raztrgala in jim v nasprotju s prazničnimi oblačili ljudje niso posvečali toliko skrbi, da bi jih čim dlje ohranili.



Opombe

1 Za modrotiskarsko dejavnost, njene izdelke in tiskarski postopek te dejavnosti se uporabljajo izrazi: angl.: blue-print(ing), tudi block-printing, resist-printing; nem. der Blaudruck, češ. modrotisk; slovaško modrotlač; madž. kékfestés.

2 Terenski zapiski M. Sterle o barvarstvu v Škofji Loki. Hrani Loški muzej v Škofji Loki, kartoteka zapiskov št. 665/1.

3 Kat. št. 131 in 132.

4 Poročna knjiga župnije Tržič 1784–1843. Original hrani župnijski urad Tržič. Podatek je posredovala kustosinja Tržiškega muzeja Nadja Gartner-Lenac.

5 Kat. št. 146.

6 Model hrani Tržiški muzej.

7 Kat. št. 1, 9, 16, 24, 25 in 79; prim. Pechová 1998: 88, 91–92.

8 Podatek posredovala kustosinja Tržiškega muzeja Tita Porenta.

9 Podatek posredovala kustosinja Narodnega muzeja Slovenije Gojka Pejagič-Bregar.

10 Kat. št. 1–25, 2–30 in 13–140.

11 Kat. št. 148, 149 in 150.

12 Podatke posredovala kustosinja Loškega muzeja Mojca Šifrer-Bulovec.

13 Podatke o Wagnerjevi rodovini mi je posredovala Marija Wagner iz Radovljice.

14 Kat. št. 31, 32, 33.

15 Podatek iz: Splošni mariborski koledar in adresar, Maribor 1925.

16 Podatke posredoval kustos Pokrajinskega muzeja v Mariboru Tone Petek.

17 “Ko je sukno (volna) ali raševina (lan in volna) stkano, še ni gotovo – ni enako debelo in enako gosto. Potrebno ga je še zgostiti, da se sprime, in ga zlikati. Zgosti se v valjalnici, zlika pa v mongi ali mangi” (Kotnik 1949: 14).

18 Podatek posredoval kustos Pokrajinskega muzeja v Celju Vladimir Šlibar.

19 Pismo, datirano 2. 5. 1920, ki ga je Ivan Hofbauer poslal iz tujine domačim v Vitanje, in nekaj izvodov strokovnega časopisja, ki ga je dobival na svoj naslov v Vitanje. Hrani Slovenski etnografski muzej.

20 Kronika župnije sv. Petra in Pavla v Vitanju. II. knjiga, (od 1. julija 1914 – ), str. 89. Hrani župnijski urad v Vitanju.

21 Kronika župnije sv. Petra in Pavla v Vitanju. II. knjiga, str. 168.

22 Dopis Alojza Hofbauerja 19. 6. 1956 občinskemu ljudskemu odboru v Slovenskih Konjicah. Dokument hrani Slovenski etnografski muzej.

23 Podatek kustosa Vladimirja Šlibarja.

24 Kat. št. 34–130.

25 Kat. št. 151–157, 163, 164, 165.

26 Kat. št. 158–162.

27 Akc. št. Slovenskega etnografskega muzeja: 1999/2.

28 Tehniški muzej Slovenije hrani dvanajst ročnih modelov za modrotisk, ki so jih kupili v Ljubljani. Podatek posredovala kustosinja Tehniškega muzeja Slovenije Estera Cerar.

29 Pokrajinski muzej na Ptuju hrani na primer enainšestdeset modelov za modrotisk, ki izvirajo z avstrijske Štajerske. Bili so del kulturnozgodovinske zbirke, ki jo je graški profesor zgodovine Franc Ferk leta 1898 podaril mestu Ptuj. Zbirka je bila poleg arheoloških predmetov osnova zbirkam sedanjega ptujskega muzeja (vir: Pokrajinski muzej Ptuj – Zbirka vodniki; Inv. knjiga etnološkega oddelka Pokrajinskega muzeja Ptuj. Pregled modelov mi je omogočil kustosu Pokrajinskega muzeja na Ptuju Andrej Brence).

30 Podatek mi je junija 1999 posredoval barvarski mojster Alojz Hofbauer, ki je takrat bival v domu upokojencev v Slovenskih Konjicah.

31 Album Słowianśćyzna z originalnimi akvareli iz Korytkove zapuščine hrani Slovenski etnografski muzej v Ljubljani.

32 Kordešev komentar iz leta 1844 v Carnioliji govori o tem, da je bila noša znana pred 60 leti, torej v času zadnje četrtine 18. stoletja (gl.: Stopar 1993: 70). A. Baš meni, da gre za nošo, ki so jo nosili okoli leta 1800 oziroma v 1. četrtini 19. stoletja (prim.: Baš 1984: 67).

33 Primeri sekundarne uporabe tiskane modrovine na tekstilijah iz zbirke Slovenskega etnografskega muzeja v Ljubljani: Inv. št. 137 – krilo z modrcem iz Škofje Loke (notranja pasna obroba), inv. št. 6760 – krilo z modrcem iz okolice Ljubljane (žep), inv. št. 13269 – krilo z modrcem iz Zabukovja pri Sevnici (ovratna obroba), inv. št. 2405, inv. št. 6231 – avbici s Koroške (podloga).

34 Deželni muzej Rudolfmum v Ljubljani. Poročilo za leto 1906. Ljubljana 1907, str. 17.

35 Inventarna knjiga Narodnega muzeja v Ljubljani: NM 1 – 9424, str. 122.

36 Kr. etnografski muzej v Ljubljani, njega zgodovina, delo, načrti in potrebe. V: Etnolog 1, Ljubljana 1926, str. 139.

37 Kat. št. 1, 9, 16, 24, 25,79.

38 Kat. št. 26, 65, 132, 146, 147.

39 Model kat. št. 18 je po motivni in kompozicijski strukturi enak modelu, ki ga hrani muzej v Stralsundu v severni Nemčiji (gl. Plotzki 1955: slikovna priloga št. 31).

40 Dvodelna modela kat. št. 1 in 24 imata podobne kompozicijske in oblikovne elemente kot dvodelni model za tiskanje blaga, ki ga hrani Moravski pokrajinski muzej v Brnu (gl. Pechová 1998: 91).





BLUE-PRINTING


The Development of Blue-Printing in Europe

Blue-printing1, also called resist-printing or block-printing, is a special method of printing patterns on cloth (Plotzki 1955: 10). It is essentially a process during which blue-printing blocks transfer a pap-like, gluey substance (the resist) onto fabric. When the fabric is dyed blue, the resist prevents the dye from reaching the fabric and becoming bound to its fibres. When the dyed cloth is dried and the resist removed, the patterns on the fabric preserve the natural color of the fabric on the blue-dyed background. Blue-printing is therefore a form of negative printing during which patterns are not dyed directly (as they are in positive printing, for instance). Blueprinting is at the same time a synonym for patterned and dyed cloth. By using the different chemical components of the resist (mechanical/chemical resist) it is possible to create multicolored patterns; by employing multipartite (composite) printing blocks, variegated multicolored patterns may also be created. Aside from blue-printing the best-known variant of such a resist negative dyeing procedure is batik printing, where printers use special pencils to manually transfer the hot wax reserve onto a delicate fabric which is later soaked in a cold dye-bath.

Creating patterns on textile by means of reserve techniques and dyeing is one of the oldest decorating processes. It was already known several centuries B.C. in India, Tibet, China and Java. It is mentioned by writers of Antiquity, and Pliny describes the procedure of reserving and dyeing such as it was later used by European dyers. The oldest preserved examples of negative blue-printing with star and dotted patterns are found on an Egyptian child’s tunic from between the 4th and 5th centuries A.D. (Vydra 1954: 9–11). There are several theories on how, when and from where such multicolored fabrics and knowledge about multicolored printing techniques reached Europe, but all of them agree that they came to Europe from the East, either by land or by sea (Domonkos 1981: 7).

After the 16th century the European colonization of the Orient resulted in new sea routes, and brought about a lively trade in colonial goods. Aside from spices, condiments and embroidered cloths in the late 16th and early 17th centuries, Europe started to import hand-painted indienne cotton (after India, where it originated), calico (after Calcutta, where it was made), and chintz (from the Hindi chint, meaning colorful, gaily colored). While the first importers were the Spaniards and the Portuguese, the English managed to obtain these goods chiefly by raiding their ships. From the 17th century the Dutch dominated European colonial politics, taking over trade in colorful Indian fabrics. In 1631 the British East India Company was given permission to import tax-exempt printed cottons. Demand for such cottons in Europe was sensational at the time; the French, Dutch, Portuguese and British competed fiercely to see who could import the best and most beautiful fabrics into Europe (Storey 1992; 20–21). People loved them because they were inexpensive, imaginatively patterned and beautifully colored, and also because they imitated the expensive silk worn by the upper classes, which the less affluent could not afford to buy. These imported fabrics were made into women’s and children’s clothes, drapes, coverlets, furniture covers and wallpaper. Indian cottons with floral, sprig and tendril patterns created the fashion in clothes and upholstery in 17th and 18th century Europe; they are still in use today in different forms (Storey 1992: 21).

At the same time as these textiles the Dutch started to import large quantities of indigo, and in the second half of the 17th century china from China, which even enhanced the popularity of blue for clothes, upholstered furniture and ceramics. This heightened interest in imported multicolored textiles stimulated the production of these goods in Europe. The Dutch, who had become acquainted with reserve printing techniques in East India, brought it to their homeland, from where it spread first to Germany, then to Bohemia, Slovakia and other countries. The new procedure, which employed the use of printing blocks, various resists and dyes in tandem with different fixing solutions, enabled the inexpensive production of printed textiles in Europe, where simpler copies of Indian and Chinese patterns started to be made.

The import of printed fabrics caused competition and jeopardized the monopoly and survival of European weavers and clothmakers, who manufactured textiles with designs woven into them. United in guilds, they rebelled against the import of printed fabrics and the governments of individual countries had to ban the wearing of printed textiles from India, Persia and China. Acts to this effect were passed in France (1686) and England (1700), followed later by Prussia and Spain. They were not effective enough, however; in the meantime, production by local European printers also increased. They printed popular patterns on textiles made of cotton and flax, and on white cotton (which could be imported from India). The authorities thus had to pass additional laws banning not only imported textiles but also those manufactured locally. They did permit, however, the production of certain quantities of printed textiles for export purposes. The ban was abolished in Prussia in 1735, in France in 1759, and in England in 1764, enabling reserve printing to flourish, progress and also supplant the positive printing process which until then had used oil dyes. Prominent printing centers developed in Holland, Switzerland (Geneva, Glarus, Neuenburg, Zürich, Basel), Alsace and Germany (Saxony, Augsburg), and later in Bohemia, Slovakia, Hungary and Austria (Kulišer II 1959: 212; Storey 1992: 30).

Blue-printed textiles, manufactured in towns and villages throughout almost the whole of central Europe, were first worn by the upper classes of the early 18th century; a century later they had become part of the clothing culture of all social classes. These textiles became especially popular in villages whose residents usually wore uncolored or monochrome fabrics (Balfour-Paul 1998: 161; Sandberg 1989: 48) decorated mostly with weaving or embroidery. Blue-printing was thus welcomed; above all it was an inexpensive novelty which quickly spread throughout the countryside as well. Its significant advantage in comparison with other textiles was the fact that this decorating technique could be applied to homemade cloth made on local farmsteads and not store-bought. Blue-printed textiles also appeared to be less subject to dirt and did not need such frequent washing as homemade white linen (Vydra 1954,44). But blue-printed textiles became truly popular in the countryside only with the appearance of inexpensive, industrially produced cottons.


Printing Blocks and Their Makers

Since the late Middle Ages the models which served the needs of different crafts in central Europe had been made by specialized craftsmen. These master craftsmen, called modelorezci or modlarji, made different models for gingerbread-makers, candlemakers, potters and others. Until the mechanization of block-printing, dyers and printers used hand-held printing blocks with which they transferred patterns onto linen, cotton, silk or other materials. The large numbers of blockmakers working in European towns indicate that this trade was widespread and important in the past. Like other master craftsmen, printers also made their own printing blocks.

The printing blocks found in various European museums display a veritable wealth of motifs, artistic creativity and technical knowledge on the part of their creators. There were numerous centers in which these printing blocks were manufactured in Germany, Bohemia, Slovakia and Hungary (Bachmann / Reitz 1962: 15; Domonkos 1981: 56; Pechová 1998: 101; Vydra 1954: 27). Some blockmakers had learned their trade and skills as traveling craftsman assistants passing through European towns. Domonkos writes that foreign dyers’ assistants, skilled in making or repairing printing blocks, would visit master craftsmen in Hungary. From foreign countries they brought new knowledge and motifs, which they skilfully used to make printing blocks in their home towns, where they opened their own workshops.

Since printing blocks were traded between craftsmen, blocks with similar ornaments can be found in a number of European countries. In addition to their locally-made blocks, dyers and printers from Moravia, for instance, also used those made by Bohemians; Germans were also large manufacturers of such blocks. The Kluge factory in Papa, Hungary usually ordered and bought new blocks from Austrian workshops; Hungarian printers also ordered them from makers in Moravia (Moravska Trebova, Novy Jičin, Zabreh) and in Hord in Vorarlberg (Domonkos 1981: 60). Polish printers also obtained their supplies from Hungarian blockmakers. Printers also traded blocks between themselves, or bought them from printers who had ceased trading (Domonkos 1981: 56–62; Pechová 1998: 101). Slovene dyers and printers also bought their printing blocks abroad, mostly in Bohemia, Moravia or Germany, from where some dyers originated or where they learned their trade. The Pokorn dyeing and printing workshop in Škofja Loka had printing blocks from Bohemia, Moravia and Austria.2 Since they had to learn this skill as dyers’ assistants, printers occasionally also made their own simple printing blocks.

The two simpler printing blocks3 in the Slovene Ethnographic Museum’s collection were probably made by a less skilled hand. Literature and sources referring to the territory of present-day Slovenia mention a professional blockmaker, modelšteher, named Anton Berger (Makarovič 1974: 61; Kragl 1936: 311) who had come to Tržič from Sachsenburg in Carinthia in 1838 and married a local girl, Katarina Kvandeš, two years later.4 Berger settled in Tržič because he was making printing blocks for the Peharc and the Pollak dye and printing works; his work was carried on by his son Feliks. The two stamp-printing blocks from the Pollak5 and Peharc6 dyeing and printing works, both in Tržič, might have been made by the Berger printing block workshop.

The making of printing blocks demanded professional knowledge and many years of practice. Repeat pattern printing blocks, which printed a continuous pattern with no visible intervals and were most frequently used in printing work, needed great precision. The technique of making printing blocks was similar to making wooden matrix plates.

As mentioned above, the gaily patterned and colored textiles imported from the East greatly influenced the ornaments on printing blocks made by European blockmakers. Floral motifs of different shapes and sizes only rarely imitated real flora. Blooms, leaves and tendrils acquired increasingly fantastic, imaginary shapes which, influenced by the European fashions of rococo, Empire and Biedermeier, changed shape and composition on the base surface of printers’ blocks. Certain designs from the East, such as paisley designs on shawls and scarves, became very popular in Europe - and have remained so to the present day. Blockmakers found their motifs in scenes from china which had been imported to Europe, but also in everyday life (the rococo motif of an idyllic life, the tree of life, the four seasons, hunting scenes, historic events such as the arrival of the first train, etc.), or in biblical scenes from the Old and New Testaments (Adam and Eve, birth of Christ, Resurrection). Judging from preserved blue-printed textiles in our museums, from literature on the use of blue-printed fabrics, and from surviving printing blocks, however, it may be assumed that such motifs were not very frequent on Slovene blue-printed textiles.

European blockmakers closely followed the tastes of their customers and those who wore blue-printed textiles; this taste differed from country to country. The numerous printing blocks in printing workshops are testament to the fact that there was great demand for a variety of patterns. Rural countryside villages and settlements, on the other hand, were attached to specific, traditional motifs and designs, rejecting ornamental novelties. Vydra mentions that in the Slovakian countryside farming women were so fond of certain designs that they rejected even those that went in a different direction than usual (Vydra 1954: 32). Blockmakers therefore modelled their printing block patterns on traditional and established patterns which people were fond of, often copying motifs from weaving and embroidery models – that is, from those ornamenting techniques that had been very popular before the appearance of blue-printed textiles and which had often been used for the decoration of predominantly holiday clothes. In view of this it may be easier to understand that blue-printing workshops in Slovenia produced specific, mostly floral and geometric printing blocks with almost no anthropomorphic or zoomorphic motifs. The majority of printing blocks came from abroad, ordered by local Slovene master dyers very familiar with the taste of their clients.

Printing blocks were originally made from pear, walnut, plum, chestnut or maple boards, and were between 2 and 5 cm thick. Blockmakers usually used pear wood, which was hard and tough but not fibrous. These blocks measured 18 x 20 cm, 22 x 25 cm or more, which were also the measurements of the sampler field. The surface of the block was such that a printer could print the entire width of the fabric (between 60 and 70 cm) in three shifts of the printing block. Blocks made of thinner boards had another board, or several of them, fastened onto the reverse side; this board was usually made of a softer wood. The additional board, whose annual rings were always perpendicular to the rings of the base board, strengthened and made firm the base board of the block. The position of the annual rings on both boards thus prevented the block from warping when the wood expanded or contracted. Due to the new manner of making printing blocks, the number of blocks made of oak and beechwood increased in the 19th century. The rococo fashion of the second half of the 18th century (Storey 1992: 33), which demanded ornaments with finer details, necessitated the use of combined printing blocks. These still had ornaments made of wood, but their tiny details were made of copper and brass strips, plates and pins. Since it was possible to quickly repair, supplement or change these metal appliqués in order to follow current fashions, these blocks, which were also cheaper, later predominated.

With the help of lacquered paper bearing the outline of the desired motif, the basic pattern was first traced onto a printing block. After the paper had been coated with printing color or charcoal powder and placed on the wooden block, the design was copied onto the wood. A hole was then drilled into the reverse side of the base board so that the board could be impaled on a pin and turned in any direction during use. The design was carved from the base surface with a chisel and with other carving tools; the surplus wood was removed to make the block as light as possible. Later, when combined (wood and metal) or metal printing blocks began to be used, small grooves were chiselled into the wooden surface of the block according to the drawing; with the help of an iron spacer, copper or brass plates and strips, 10 mm wide at the most, were then driven into the grooves. Brass pins of different shapes, sizes and widths (between 20 and 25 mm) were hammered into the base surface to a depth of 8 to 10 mm. Since thinner pins could easily be damaged, they were inserted into previously-made tiny holes. Brass pitch pins, inserted into three corners of the block and used in repeat printing, enabled the exact positioning of the block and a continuing pattern on the fabric. Metal appliqués were then ground with a pumice-stone or grit to even out any irregularities on the printing surface of the block. A shallow finger–grip hole on each side surface, ensuring better grip during the printing process, was either carved – if the printing block was smaller – or, in the case of larger blocks, sawn out or carved into the reverse side of the block. Block sides were then carefully treated with a cutter and the wood protected from moisture and chemicals with varnish.

Blockmakers used drawing material, rulers, protractors, chisels, knives, hammers, drills, files, saws and mallets. When they were making metal blocks they made special use of a steel matrix with which they drew profiles into brass wire to make cross, circular, semi-circular, square, star and other sections. The wire was then cut sharply into adequately-sized pins, which created different patterns on printing blocks (after Domonkos 1981: 56–62; Vydra 1954: 24–28; Bachmann/Reitz 1962: 16–17).

In order to create multicolored patterns, blockmakers had to make as many blocks with supplementing patterns as there were colors in the final design, and also the basic contour block. There are double, tripartite or multipartite printing blocks. Save for one which is combined with wood, all the double printing blocks at the Slovene Ethnographic Museum have the patterns of the base contour blocks made of metal appliqués; with the exception of one, their corresponding supplementary blocks are made of wood.7

Some blockmakers signed their printing blocks with their initials, either carved or made of metal strips appliquéd into the sides or on the back of the block. Their names only rarely appeared on the base surface. Until the completion of comparative studies of foreign museum collections of printing blocks, the originators of the blocks in the Slovene Ethnographic Museum collection shall remain a mystery. Those rare blocks that have been signed thus present a challenge for further research. If the block was commissioned, the commissioner’s name usually appeared on the base (printing) surface of the block, either as initials or as a full name.


Textile Production and the Dyer’s Trade in Slovenia

Blue-printing in Slovenia was firmly rooted in the central European dyer’s trade. This is reflected in numerous similarities in the implements and tools used by dyers and printers, in their organization of work, in how they dyed and printed the textiles, in similar printing blocks and their motifs and, last but not least, in personal contacts between Slovene and foreign master dyers (Gorišek 1959: 158). Guild regulations demanding a compulsory period in a foreign workshop for trade assistants further strengthened these relations. Individual dyers and blue-printers came to Slovenia from the north (from Bohemia and Moravia), settled there, established their own workshops and started families. Their sons learned the dyer’s trade from Slovene master dyers, but perfected their skills abroad. Individual families of dyers strengthened their ties through marriage and property inheritance.

Textile block-printing spread throughout Slovenia in the first half of the 19th century when, influenced by European clothing fashions, interest in multicolored printed fabrics started to grow among rural populations. Blueprinting developed within smaller village dye works and larger urban textile dye manufacturers, and later in factories which manufactured, dyed and also printed textiles. The progress of the industrial production of dyed and printed textiles caused the dyer’s trade, and also the manual printing of textiles as a specialized branch of trade activity, to decline, finally becoming extinct at the beginning of the 20th century.

The advantages of blue-printed textiles lay in their decorative aspects, their low price and their availability to all social classes; dyers would print designs on homemade cloth and hemp fabrics brought in for printing by rural weavers. Later, dyers also printed store-bought cotton. Rural dye workshops catered to customers from local villages or from afar. They mostly operated within farmsteads; the dyers were, at least partly, farmers as well. Since the textiles had to be rolled before printing, according to guild traditions dyers also rolled cloth and linen. Dye works therefore had smaller or larger rolling mills. Dyers were often also “middle men”, giving yarn to village weavers for weaving, then dyeing the woven fabric and selling it on to their customers. The manufacturing mills, which contained dye works and printing works within their complex, also sold their textiles to foreign customers.

Dyeing, and later blue-printing, was directly connected with textile production. The prosperity of the linen and cloth trades caused an increase in the number of dyers; these numbers fell when both trades started to decline. Influenced by the mercantilist ideas of the 18th century, the linen trade especially developed into a domestic rural trade which satisfied the need for linen at home but simultaneously produced large quantities of fabric for export. Centers of the linen trade in Carniola were Škofja Loka and its surrounding area, Poljanska and Selška Dolina. Most textiles produced there were exported to Italy. Farmers brought their cloth and linen to urban dyers for dyeing (Blaznik 1940: 69). Hackled linen from the vicinity of Smlednik, Medvode and Mengeš (Mohorič 1955: 71) was especially well-known. Homemade linen was also woven on farms in and around Tržič (Mohorič 1960: 9). Cloth and linen trades likewise flourished in Gornjesavska Dolina, Rateče, Podkoren (Novak, A. 1964: 245) and in the Kočevje region where, aside from linen, coarse cloth was made. Cloth was also made in some places in Notranjska: around Prem and Senožeče, in Kočanska Dolina (Baš, A. 1985: 62–63), and in the Gorenjska villages between Begunje and Žirovnica, where cloth, used mainly for work clothes and furnishing, was woven and rolled until the first decades of the 20th century (Novak, V. 1954: 117). Homemade cloth was also produced in the following areas: below the Olševa and Peca mountains, in Strojna, around Slovenj Gradec, on Pohorje, in Kobansko, in the upper Savinjska Dolina, in Zadrečka Dolina (between Solčava and Mozirje and around Gornji Grad), and in the vicinity of Vitanje (Kotnik 1943: 26; Hribernik 1954: 119). This activity was based on strongly developed sheep farming. The linen trade, which provided the necessary items for home use, was also developed in Prekmurje, Dolenjska (around Žužemberk, Šentjernej, Šentrupert, Mokronog), Bela Krajina, Notranjska (in the Cerknica and Lož valleys), Primorska, and Koroška (Makarovič 1968: 109–111).

In Slovenia the dyer’s trade was certainly much older and more extensive than printing, and not all dyers switched to textile printing later on. According to the first known data on the number of master dyers from 1673, Celje, Konjice, Maribor, Slovenska Bistrica and Tržič each had one dyer (Žontar 1970: 81). Seventeenth century urban dyers were members of the Ljubljana dyers’ guild, which encompassed master dyers from the whole of Carniola. In 1673 dyers from Kranj and those from Škofja Loka, Tržič and Radovljica established a guild subsidiary (Žontar 1939: 196). In 1725 this guild included dyers from Ljubljana (five), Kranj (seven), Kamnik (five), Škofja Loka (six), Radovljica (five), Višnja Gora (three), Tržič (four) and Cerknica (two) (Slokar 1977: 28). Their numbers increased until the middle of the 19th century, when there were as many as 48 dyers in smaller and larger Carniolan towns (Ljubljana, Tržič, Škofja Loka, Kranj, Idrija, etc.). Under the influence of the developing textile industry in the second half of the 19th century, as well as foreign imported textiles, the use of dyed and printed homemade cloth and unbleached cotton fabrics started to diminish. The consumption of industrially produced textiles, which in the first half of the 19th century were still the domain of rural holiday clothing but now gradually became part of farmers’ work clothing, was on the increase. The number of dyers therefore diminished: in 1870 to 36, two years later to 30, in 1880 to 24. There was one dyer in each of the districts of Vipava, Rače, Kranj, Tržič, Litija, Novo Mesto, Brdo and the surroundings of Ljubljana, two each in the districts of Idrija and Kamnik, and three each in the districts of Ljubljana, Loka, Kranjska Gora and Radovljica (Makarovič 1974: 60).

Aside from urban master dyers there were also those who worked in the countryside and were not members of any guild. This trade was also practiced on some farms where textiles were dyed for the needs of family members alone. It is said that as late as the first half of the 19th century women in the vicinity of Poljčane dyed trousers, waistcoats, shirts, jackets, men’s and women’s aprons and sheets made of homemade tow linen with natural dyes in pits (muže). Dyers on farms, as well as professional dyers, dyed textiles with imported or homemade black, white, grey, brown, red, green and blue natural dyes or essences made from plant roots, stalks and leaves such as madder, woad, indigo, oak bark, chestnut chips, walnut shells, chestnut burs, alder wood, ligustrum and black dirt (Kovačič 1906: 34–37; Žagar 1991: 59). Boiled chips of sweet chestnut, for instance, produced a bath of brown color. If the fabric was first soaked in this bath and later in a solution of blue vitriol, it turned grey. If a black color was desired, Brazilian wood was added to this bath (Kotnik 1949: 18). When synthetic dyes were invented in the 1890s the dyeing technology started to change. According to some figures the dyer’s trade in Poljčane farms started to decline only when a professional dyer settled in Slovenska Bistrica in the mid-19th century. On homemade linen he printed different floral patterns, which were popular with women especially (Kovačič 1906: 39).

Due to competition from machine-made Czech textiles, the cloth trade in Gorenjska started to decline in the first half of the 19th century. Since there were few Slovene textile works which could adapt to industrial production, most of them had to close down. As early as the beginning of the 19th century the cloth mill at Selo near Ljubljana had to end production; the same fate awaited the cloth mill in Zgoša, both blanket mills in Kranj in the second half of the 19th century, and the wool mill in Škofja Loka at the beginning of the 20th century. A similar destiny later awaited a number of mills which dyed and printed cotton and woollen textiles, the best-known being the Pollak and Peharc mills, closed in 1870 and 1890 respectively, and the Pirc mills in Kranj, which operated until World War I. Much more successful, though few in number, were the cotton textile factories.

Textile mills in Slovenia were established by foreign businessmen who already owned similar plants in Bohemia or Lower Austria, by cotton merchants from Trieste, and by larger enterprises from Trieste or Vienna. The first cotton and weaving mill was established in Ajdovščina in 1828; this was followed in 1837 by a mechanical steam-driven cotton and weaving mill in Ljubljana, by a cotton mill in Prebold in 1842, and still later by mills in Tržič, Litija, etc. These mills manufactured predominantly semifinished products, cotton yarn and raw textiles purchased mostly by foreign factories to produce the finished products. Because of this orientation the Slovene textile industry could not entirely satisfy the needs of the domestic market and its increasing demand for cotton fabrics (Kresal 1976: 25–28). The development of railway transportation in the second half of the 19th century resulted in an even greater influx of industrially-made cottons and other textiles from Bohemian, Moravian and Silesian mills, which flooded the Slovene market. These fabrics were brought to annual fairs in Slovenia by Jewish resellers, who most often came from Moravia. Since these textiles were more attractive, lighter, smoother and cheaper than homemade linen, they quickly became more popular, supplanting homemade linen and cloth. Textiles made in mechanical cotton and weaving mills were competitive, bringing about the decline of manual spinning and weaving in the countryside (Mohorič 1955: 75; Mohorič 1960: 17).


Master Dyers and Blue-Printers and Their Production

Based on various descriptions of clothing material and the clothes of rural and urban populations, it is impossible to establish when exactly dyers started to practice blue-printing in Slovenia. It could not have been before the beginning of the 19th century, since there were no dye works at the time, even in Ljubljana. This conclusion is based on a petition addressed by a Berger from Ljubljana to the dye guild in 1794. In it he made a plea for acceptance by the dyers since he wished to open a printing works for chintz and linen – a branch of printing unknown up till then. Even though the dyeing of linen had been a free trade since 1773 (Slokar 1977: 77), the dyers did not grant his petition. After several appeals Berger finally abandoned his plan to open a textile printing works in Ljubljana (Vrhovec 1886: 239).

In the first half of the 19th century several blue-printing mills in Gorenjska were already printing cotton and, in larger quantities, homemade linen brought in by farmers needing it for their own use. Important trade dye and printing works of the time operated in Tržič, Kranj (after Mohorič 1960: p. 9 ff; Kobe-Arzenšek 1968: 17–21), and Škofja Loka. As mentioned, there were two prominent families of dyers in Tržič: the Peharcs and the Pollaks. Master dyer Jože Peharc (1790–1856) was considered the Slovene technical dyeing pioneer, employing the latest findings of the dyer’s trade at his own mill. At the 1844 trade and industry exhibition held in Ljubljana he exhibited 25 of his manufactured products, which were praised as matchless for their pure execution, vivid authentic colors, and excellent finishing. His mill manufactured over 15,000 pieces of colored and printed unbleached cotton, which were sold in Alpine regions and in Primorska. Peharc signed his products with a manual printing block bearing the trademark of his mill, which he printed on the textiles. The block is now part of the Tržič Museum collection. Other prominent Tržič dyers of that time were Karel Pollak (1772–1855) and his son Gašper (1800–1880). While the father worked as weaver, dyer and tanner, Gašper learned the tanning trade and went, as was then customary among the tradesmen of Tržič, to work abroad (“v fremd”). He traveled through Germany and practiced his craft at the C.A. Mann unbleached cotton mill in Berlin for several years. There he learned the weaving, dyeing and finishing trades, and after his return opened an unbleached cotton factory and dye works in Tržič. Like Peharc, Gašper Pollak based his dye works on modern principles, exhibiting his products at trade and industry fairs. He manufactured 6,000 printed pieces per year, which were sold in Carniola, Carinthia and Upper Austria. Just as they had praised Peharc’s products, Kmetijske in rokodelske novice, a newspaper for farmers and tradesmen, praised Gašper Pollak’s products for design and quality which neither Bohemian nor German textile manufacturers could match. Five blue-printing blocks from his dye works in Tržič are now kept at Tržič Museum.8 Like Peharc, Pollak marked his wares with his factory’s trademark printed on the fabric. The trademark printing block is now kept at the Slovene Ethnographic Museum. Since neither master tradesman had a successor following in his professional footsteps, both factories ceased operation even before the arrival of new textile plants.

Dyeing was also practised by the Pirc family from Kranj. Sources mention Lovro Pirc, a master dyer whose son Andrej, likewise a master dyer, succeeded him in 1783, enlarging and modernising the mill. After Andrej’s death in 1808 the dye works was run by Andrej’s brother Simon, a skilled dyer himself, who worked there between 1809 and 1851. During this time dyers were already using printing blocks and dyed textiles in indigo. From the 1852 inventory of objects left after Simon Pirc’s death, it is evident that, among other things, the Pirc dye works also possessed wooden indigo tubs, iron textile hangers, a printing table with accessories, 80 printing blocks, a mortar for crushing indigo and a copper bowl for grinding it, complete with the corresponding iron balls (Demšar 1990: 184–185). Simon’s son Matej (1824–1891), who had studied at the Banska Štiavnica mining academy and later worked as director of the Toplice pri Hotavljah mine (Žontar 1939: 416), might have helped orient the dye works towards printing. Matej doubtless learned about blue-printing in Moravia and Bohemia, conveying new developments to his father in Kranj. The fact that he took over the domestic dyeing trade after his mother’s death in 1856, and even established a store with manufactured goods which employed about 100 village weavers, especially those in Besnica and in the hills around Škofja Loka, proves that he was very much interested in dyeing. He transmitted his passion for dyeing to his son Metod Pirc (1866–1891), who modernized the dye works, supervised product quality, and eagerly studied foreign literature on cotton and wool dyeing. Cotton and wool were mostly dyed red, dark blue (indigo), green and black; the dyes were imported from Germany. Since these products were of high quality, the business flourished, with orders pouring in from almost every town in Slovenia, especially Ljubljana. Pirc also had customers in Vienna, Prague, Trieste, Linz, Klagenfurt and other Austro-Hungarian towns. In the second half of the 19th century farmers from nearby villages brought in different textiles for dyeing, such as those for kerchiefs, dresses, socks or other pieces of clothing. Since the number of printing blocks in the Pirc dye works increased at the time, some of these fabrics were also printed. The Slovene National Museum in Ljubljana possesses about 150 blue-printing blocks9 obtained by the Carniolan Provincial Museum from the Pirc dye works in Kranj in 1911. This was probably when manual block-printing finally ceased in this mill; due to severe competition from cheap factory products, the dye works itself ceased operation in 1922 (Kobe-Arzenšek 1968: 19–20).

The area around Škofja Loka was another where dyeing, also called firbarstvo, and blue-printing were strongly developed in the 18th and 19th centuries. Since Škofja Loka and certain places in Poljanska and Selška Dolina were famous for their linen, this is hardly surprising. In the middle of the 19th century there were as many as six dyers working in Karlovec, a suburb of Škofja Loka, and there were others in Gorenja Vas, Žiri, Železniki and Selce. Franc Oblak, a dyer whose customers were farmers from Cerkno, the Tolmin area and places in Poljanska Dolina, worked in Gorenja Vas. His son Miklavž, who had learned the trade from Pokorn in Karlovec, succeeded the father in 1871 and dyed textiles for the farmers of Selška Dolina, especially Davča. He occasionally printed the fabrics, but was also a farmer and beekeeper. The dyers from the Škofja Loka area learned and perfected their trade in Bohemia, Moravia, Germany and Austria. Those working in the suburbs of Škofja Loka included Martin Sušnik (b. 1776) and his son Anton, Jakob Eržen (b. 1778), Lovrenc Paušek and Jakob Vilfan. The most prominent, however, was Jurij Pokorn (1800–1875), who worked for the longest period. His dye works in Karlovec (house no. 33, house name pri Firbarju) was the largest of them all. Pokorn had learned his trade while travelling around Germany as a trade assistant. He worked in Strassburg, where he obtained his trade assistant’s book in 1821, in Stuttgart, Westheim, Leipzig and Dresden. He spent some time in Silesia and Moravia, went to Austria in 1823, and stopped in Schenkenfelden for four years. There he completed his apprenticeship with master dyer Anton Gerbec and in 1827 became an assistant dyer. After eight years of roaming abroad he returned to Škofja Loka, settled down with his uncle Anton Pokorn and probably worked as a dyer. In 1834 he bought a house and established his own dye works. His sons and two assistant dyers from Moravia helped him with dyeing, printing and mangling. After his death the dye works was taken over by his son France, who was also a farmer. He dyed and printed cotton textiles and homemade linen brought into the workshop (k Firbarju) by farmers from Črni Vrh, Stara Loka, Pevno, Trnje, Bodovlje, Šefert, and other places in Selška and Poljanska Dolina. These textiles were made into aprons, skirts, blouses, kerchiefs and children’s clothes. The dyes, most often dark blue and green but also brown for mezlan (a mixture of linen and wool), came from Bohemia. The Pokorn dye works was fully operational until 1907, but had gradually reduced its activities by the onset of World War I (Gorišek 1959: 162; Sterle 1979: 98-104). The Slovene Ethnographic Museum has in its possession 39 blue-printing blocks10 and three pattern sheets,11 and the Škofja Loka Museum has 91 printing blocks, three pattern sheets, a woman’s kerchief, some dyeing accessories, tools and dye containers12 – all objects from the Pokorn dye works.

In the first half of the 19th century another master dyer came from Josefstadt (Josefovo) near Jaromer in Bohemia, settled in Bohinska Bistrica and set up a dye works there. His name was Alojz Wagner (1816–1901). In 1846 he married Gertruda (Jera) Pokorn from Škofja Loka. One of his children, Jože (b. 1847), became a dyer, later inheriting his father’s dye works in Bistrica. Another son, Alojz (b. 1853), learned the dyer’s trade at Pirc’s dye works in Kranj between 1870 and 1873. In 1880 he married Marjana Justin, a weaver who brought the textiles she had woven to the Wagner dye works in Bohinjska Bistrica. He moved into her house in Radovljica, and established his own dye and printing mill there. His son Anton (b. 1884), who also became a dyer, thoroughly modernized it after 1920. At this time his father Alojz, the last member of the Wagner family who still printed textiles using hand-held printing blocks, stopped working in his dye works in Radovljica. Anton’s daughter Marija, who after World War II continued the trade in Radovljica, still has in her possession around 20 blue-printing blocks once owned by her grandfather.13

There were also individual dyers in other places, for example in Cerkno where, at the beginning of the 20th century, the wealthy Peternelj family (known locally as “Firbar”) owned several houses, a considerable amount of land and cattle, a pub and a linen dye works (Bizjak 1986: 58). Until the second half of the 18th century, when it started to decline, dyeing, weaving and hat-making were still practiced in Motnik. There is still one known example of the vernacular name Firbar (Urankar 1940: 80) in this village. The Slovene Ethnographic Museum owns three textile printing blocks from Motnik.14 In Horjul, textiles dyed blue and then printed with different patterns, used for making aprons, were still manufactured as late as the beginning of the 20th century (Ložar 1949: 63). Towards the end of the 19th century another dyer and printer was supposedly working in Mozirje, and a dyer was said to have operated in Središče ob Dravi up until World War II (Makarovič 1974: 60–61). There were four dyers in Maribor in 1925; one of them was Ludvik Zinthauer,15 who also used to print different patterns on textiles using hand-held printing blocks. There are six of his blocks at the Maribor Regional Museum.16 Franjo Baš was of the opinion that these, along with the blocks from the Ferk collection which will be mentioned later and which are kept at the museum in Ptuj, originated at the end of the 18th century (Baš, F. 1949: 51).

The dyer’s trade was also well developed in places where cloth was rolled or stamped17 – for instance in Guštanj, Fala, Solčava, Mozirje, and around Luče in Savinjska Dolina. Cloth rolling mills were part of a homestead, like that owned by Ivan Keber (locally known as pri Vavharju, pri Firbarju) along the Ljubija near Mozirje. As indicated by their local name, the Keber family rolled and dyed cloth, and also possessed a mangle. Since the Celje Regional Museum owns a printing block from the Keber dye works,18 this mill probably printed linen as well. Farmers who brought in cloth for dyeing were from the vicinity – from Solčava, Gornji Grad, around Slovenj Gradec, Javor, Koprivna, Šentvid, Kotlje, Šoštanj, Braslovče, and even Motnik (Kotnik 1949: 15).

Another important cloth and sackcloth rolling mill (stamp mill) and mangle was located in Vitanje (Kotnik 1949: 16) and was owned by Ivan Hofbauer. He had moved to Vitanje from Mozirje in 1884. Hofbauer, a very enterprising dyer who worked hard and was interested in new developments and improvements in the cloth-making and dyeing process, gradually built up an enviable workshop. He went abroad to check the latest cloth-weaving machines, and he subscribed to the German professional literature of the time (Der Spinner und Weber Wochenschrift; Die Textil-Börse).19 The priest of Vitanje, who entered each important event in Vitanje and his parish in the parish chronicles, wrote in 1922: ‘On November 25, 1922 dyer Ivan Hofbauer opened his cloth “mill”. The building stands by the Hudina brook, close to the Ledinek sawmill, and it cost about 1,360,000 K (340,000 dinars) together with the machines. Everybody is amazed at the enterprising spirit of this simple man, a common dyer. His textiles are rather expensive, but durable and popular with people.’20

Hofbauer, who was also a farmer and miller, produced cloth which he rolled and dyed himself. Until about World War I he dyed and, when necessary, printed linen and unbleached cotton fabrics brought to him by the local farmers. He had four sons and a daughter, and saw a good deal of tragedy and misfortune in his life. Illness and accidents took the lives of three of his sons, and his property burned down three times.21 His youngest son Alojz and daughter Marija remained at home, helping their father with the work at the mill and with farming chores. Alojz Hofbauer also became a dyer and part-time clothier, but did not print cloth like his father before him. After their parents’ death in 1939, Alojz and Marija stayed on at the Hofbauer homestead in Vitanje. But in the period between the wars, industrially-made printed textiles, which were brought by travelling peddlers to even the remotest hill villages, and which increasingly replaced homemade printed linen (Makarovič 1974: 60) in the villages, caused a strong recession at the Hofbauer mill. After his father’s death, Alojz Hofbauer officially took over the trade. To a smaller extent his mill still produced, rolled (thickened) and dyed cloth brought in by local farmers. But when in the summer of 1954 flood water carried away the wooden grooves which channelled the water onto the driving wheel of the stamp, Alojz Hofbauer returned his rolling-trade permit.22

Like other similar workshops the Hofbauer dyeing and printing mill had a large horse-driven mangle for ironing textiles. The mangle still exists, but unfortunately only very few dyeing tools and devices have been preserved; the buildings for stamping and dyeing and the dye works continue to fall into disrepair. Even though the Hofbauers had ceased blue-printing many years previously, the workshop still contained about 200 printing blocks (Makarovič 1974: 60) at the end of World War II; about 25 are now in the collections of the Celje Regional Museum,23 and 97 are kept at the Slovene Ethnographic Museum in Ljubljana.24 The latter also possesses several textile samples,25 pieces of clothing,26 dyeing tools, and written and pictorial documents27 from the Hofbauer workshop.

Blue-printing and dyeing were probably developed in other places where cloth and homemade linen were produced, and also in towns; this could be verified with fieldwork research and in archives. Rare and valuable blueprinting blocks and other dyeing implements have been preserved only in museums,28 or by some master dyers’ children. Many material remnants of the blue-printing trade, however, have been lost forever. Not every museum object related to this trade necessarily reflects the blue-printing trade in Slovenia, either. Sometimes such pieces were brought to our museums solely because they were interesting artefacts with remarkable plastic or aesthetic qualities;29 in some cases it is impossible to establish their provenance. With the introduction of more contemporary dyeing and printing processes, the fate of the blue-printing and dyer’s trade has been sealed.


Blue-Printing Workshops and Techniques

Dyeing and especially blue-printing workshops had to be well-equipped with various tools and devices, which necessitated a considerable amount of capital. The trade was therefore usually transferred from father to son. If they had no suitable male successor, dyeing assistants married the daughters of master dyers, or their widows (Domonkos 1981: 44). In Slovenia most dyeing and printing workshops were on the ground floor or in the basement of residential buildings. Higher floors contained apartment quarters for the family. Larger dyeing factories had a drying room in the attic. Dyeing quarters needed a lot of space and were usually built alongside flowing water because the dyed and printed textiles had to be rinsed in flowing water before drying and ironing.

Jurij Pokorn’s dyeing mill in Škofja Loka, for example, had a special room with seven dyeing vats and two tubs in which the fabric was leached and dyed. There was another long, narrow room with two windows for block printing (the drukarca) (Sterle 1970: 100). It contained a special table for block-printing, another little table for reserve paste or dye, and shelves with printing blocks arranged by number. At the end of the 19th century the average German blue-printing workshop thus contained between 500 and 1,000 printing blocks; some had even more (Bachmann/Reitz 1962: 19). Our dye works fell short of this number and had between 250 and 300 blocks at the most (based on notes and on the number of preserved blocks).

Before it was printed, cloth had to be pressed to become straight and smooth. Pressing or mangling was done with a mangle which, because of its size, had to be placed in a special building or on the ground floor of the dye works. The mangle, a wooden box between 4 and 6 m long, 2.5 m high and 1.5 m wide, contained up to 10 tons of stones to weigh it down. The cloth was first rolled onto 15-cm-thick and 120-cm-long wooden cylinders positioned on a special wooden tabletop under the box. The mangle was moved left and right across the cylinders with the rolled cloth with the help of a special winch pushed by horses (or, at times, people). The cloth thus became thicker and smoother (Domonkos 1981: 47). There were also smaller manual mangles which operated in a similar manner. The big mangle in the Pokorn dye plant in Škofja Loka was placed in a barn next to the dye works; Pollak’s mangle in Tržič was situated in a separate building next to the dye works; Hofbauer placed his mangle under a special wooden structure next to the house and the dye works; and Pirc had a mangle in the basement of his house. The Kranj (Pirc) and Vitanje (Hofbauer) mangles have been preserved.

The printed cloth was first dried, then dyed in a cold indigo bath in wooden or concrete indigo vats. The dyed fabric was then soaked in a mild acid solution to remove the reserve, and rinsed in clean water. Afterwards it was dried on poles (rante) which were driven into the ground around the dye works or in fields. If the weather was bad the linen was dried on poles (grablje), which were either in the drying-rooms of the attic or fastened under the jutting roof. The former Pollak dye works in Tržič, in the building now housing the Tržič Museum, still has drying poles in the high attic, which can be reached by a wooden staircase and scaffolding made from wooden boards. The jutting roof and grablje have also been preserved in the former Pokorn house in Škofja Loka. Dry dyed and printed cloth was then mangled again.

Aside from furniture, larger copper kettles and tubs, devices for ironing, winches, iron hoops for stretching fabric, pick-up reels and pulleys, dye and printing works also needed numerous smaller, equally indispensable accessories such as buckets, pails, rakes for stirring dye and textiles in tubs, presses, mortars, copper and iron bowls, devices for crushing dyes, and so on. In the mid-19th century the Pirc dye works in Kranj already possessed a six-cylinder mangle the value of which, together with the corresponding tools, was estimated at 123 florins. There were also seven different copper vats and three larger larch tubs for stirring dyes and for dyeing, and iron frames which served for the immersion of the textiles in dye valued at 146 florins and 30 crowns. Among other tools in the mill was a seven-pound copper bowl for grinding indigo (3 florins and 30 kreutzers) and the corresponding seven iron balls (estimated at 1 florin and 30 kreutzers). There was also a mortar for crushing indigo (3 fl.), a tub for leaching and washing with iron hoops (1 fl.), a water tub (45 kr.), two medium-sized dyeing pails (1 fl. 12 kr.), a tub for cooling linen (45 kr.), four smaller dyeing pails (1 fl. 20 kr.), four smaller dyeing pails (48 kr.), four buckets for dye and water (24 kr.), two spindles (1 fl.), a copper dye bucket (1 fl.), a wooden dye bucket (6 kr.), and so on. A table used for printing cost 1 florin, and eighty printing blocks cost 40 florins (15 kr. each) (Demšar 1990: 185).

As already mentioned, dyers first printed on homemade flax or hempen linen; later they started to print on cotton as well. The farmers who had brought textiles in for dyeing or printing were given a roš by the dyer (Kobe-Arzenšek 1968: 19). This was a round, square or rhomboidal brass label with two holes punched with letters and numbers. The dyer kept a duplicate, sewing or tying it to the cloth brought by the client. In his notebook he entered the signs on the plate, the name of the client, and his or her requests for particular colors or designs. Both brass labels acted as a tally used for labelling commissioned work and ensured that after dyeing and printing the textile went to the right owner, who had to present the label when he or she came to collect the finished piece. Such designation was widely used in European dye works. The initials on the label designated the dyer’s name and surname, and the number denoted the numeral designation of the textile, its owner and his or her requests. Each dyer had his own design for these labels. Ivan Hofbauer, followed by his son Alojz, had labels with their own initials. Aside from his initials Alojz Hofbauer used another capital letter which denoted the area or place where the owner of the textile lived.30 Similar plates from the Pirc dye works in Kranj have been preserved.

Customers chose the pattern for their fabric with the help of pattern sheets. Every dyer who was also a textile printer had printing blocks with different patterns. Their frontal surfaces were numbered with Arabic or Roman numerals, and were also arranged on the printing-room shelves in the same numerical order. To facilitate the choice of a suitable pattern for their clients, dyers had impressions of their printing blocks on textile or on paper, on pattern sheets or in sample books. A pattern sheet was a piece of blue-dyed cloth with white or multicolored patterns of dyer’s printing blocks printed in numerical order. The number of the pattern on the pattern sheet was identical to the number of the pattern on the corresponding printing block. In pattern books the system of designating individual patterns was the same, but the impressions were usually printed on blue or black paper. Individual sheets of paper were tied together or bound in a thicker book or sample catalogue. The Kluge factory in Hungary had several pattern-printed smaller pieces of cloth glued onto thicker paper. Each piece of cloth had its own number and the paper was bound into a thick pattern album (Domonkos 1983: 32–34). According to available data, sample books have not been preserved in Slovenia; quite possibly our dyers did not possess them at all. The aforementioned pattern sheets from the Pokorn dye works, however, have been preserved and are now part of the collections of Škofja Loka Museum and the Slovene Ethnographic Museum.

Before printing the cloth had to be leached, starched, dried and mangled. According to the accessories and tools in their dye works and connections with foreign blue-printers, Slovene dyers initially used the resist style of printing, where the white textile is first block-printed with resist, then dyed in an indigo bath. The mordant method later became predominant; in this process the basic blue of the dyed cloth was reduced to produce the same white patterns as with the resist style. In order to obtain white patterns on blue-dyed cloth, dyers used a reserve which left the pattern areas reserved in white against the blue background. The basic resist consisted of 60 parts kaolin, 18 parts gum arabic, one part tallow (lard), nine parts lead acetate, nine parts ferrous sulphate, 12 parts copper vitriol, and one half part alum. After adding water the mixture was cooked until it turned into a pappy, gluey paste. In order to obtain the proper viscosity the resist was mixed with acetic acid. Each printer had his own recipe for resist (Vydra 1954: 35) which was often a well guarded secret. In order to preserve their secret recipes the Kluge family, a family of dyers living in Papa, Hungary, used special coded signs for every chemical compound used for making dye baths and resist. When he was travelling around as an assistant dyer, Jurij Pokorn, a dyer and a printer from Škofja Loka, entered secret recipes for different reserves (called pajci) and dyes into his assistant’s notebook. Later, when he became a master dyer and had his own dye works, he put these recipes to good use (Sterle 1979: 98–99). Aside from white patterns, blue-printers were also able to produce block-printed patterns in light or dark blue, yellow, green or orange. This was achieved by first dyeing the cloth and then printing it, or by adding different chemical substances - most often chromium salts - to the basic resist. If these patterns were multicolored the cloth had to be printed, dried and re-dyed several times, which took extra time and demanded great technical skill (Domonkos 1981: 50; Balfour-Paul 1998: 162; Bachmann/Reitz 1962: 40).

The printing table on which the cloth to be printed was placed was first covered with a woollen blanket and white fabric. Next to the printing table was another smaller square table with a 60 x 60 cm drawer containing an upholstered frame with reserve (acting as a stamp-pad). A printer pressed his printing block onto the pad, which was soaked with resist. Then he block- printed the reserve on the cloth. The reserve had to be applied to the printing block after each imprint. Repeat blocks needed extra care since the printing block had to be positioned exactly on the pitch-pin points to ensure the correct repeat of the pattern vertically as well as horizontally. The width of the cloth was two or three times the width of the printing block, which simplified the printing and enabled the full conclusion of the pattern on both edges of the cloth. To produce a handsome pattern the printer had to block-print in regular rhythm, making sure that the pressure of the block on the cloth was even and not too firm. In some dye works printers beat the block with a wooden mallet to ensure an even print. A printer could print between 120 and 150 m of linen daily, but this also depended on the length of the printing block (Domonkos 1981: 50–51). The cloth could also be printed on both sides. Before the cloth was dyed the printed reserve had to be completely dry.

The correct preparation of the dye bath was of crucial importance. Woad had been in use before indigo for obtaining a blue color. Woad (Isatis tinctoria) produced Europe’s most commonly used blue dye throughout the Middle Ages. Woad was mostly grown in France, but also in Germany, Italy, Holland and later in England (Balfour-Paul 1998: 33). The use of woad diminished considerably after indigo began to be used for dyeing in the 17th century. Since the indigo plant (Indigofera tinctoria) contains up to times more dye than woad, its use was economically sounder. Another advantage of indigo dye was the fact that fabrics could be dyed in a cold indigo bath, which did not have to be more than 20 or 24°C. After extracting the dye from the leaves of the indigo plant the dye came to Europe in crystallized balls. The best indigo, containing 40 to 60 per cent blue dye, came to Europe from Java, Bengal and Guatemala (Vydra 1954: 39). The dyers from Škofja Loka obtained indigo indirectly, in Vienna or Bohemia (Gorišek 1959: 163; Sterle 1979: 99), while the Pirc family obtained it from Germany. Indigo was most often supplied by the S.G. Farbwerke Mainz a. Rhein company (Kobe-Arzenšek 1968: 19–20). To prepare the dye, indigo first had to be crushed in a mortar, then pulverized in a copper container using iron balls. The dyers in Stara Lubovna in Slovakia, for instance, used 5 kg of pulverized indigo, 4.5 kg of sulphuric acid, 5 kg of lime and 1,000 1 of water. This dye bath was originally kept in round wooden vats which were 2.5 m deep and 1.5 m wide; later the vats were replaced by round concrete containers which were cemented into the floor of the dye works. The printed fabric was dyed by stretching about 25 m of cloth on a round iron frame – the ram. With the help of a winch secured onto the ceiling above the vat, the fabric was then lowered into and raised from the dye bath. The cloth was dipped seven times, but had to be left in the air for ten minutes before each dipping for the color to oxidize and become insoluble in water. The fabric on the frame was then turned by fastening the lower edge of the cloth on the frame and repeating the dyeing procedure. The whole length and width of the fabric was thus evenly dyed. The intensity of the color on the fabric, ranging from light blue to almost black, therefore depended on the numbers of dippings and on the prescription for the dye bath prepared by the dyer. Indigo-dyeing enabled the following color combinations: white-light/dark blue; light/dark blue; green-light blue; dark blue with a yellow pattern; dark blue with a yellow and green pattern. The dyed cloth was then dried, washed in a mild sulphuric acid solution to remove the resist, and thoroughly rinsed in running water (Vydra 1954: 40–41). The cloth was then starched (štirkano), dried, mangled and stored until picked by a customer or sold at a fair. If the fabric had been brought in for dyeing by a farmer, the dyer’s profit came from dyeing and printing it. Later on, dyers bought cotton fabric themselves, dyed and printed it, and made more money by selling it (Makarovič 1974: 64).


The Use of Blue-Printed Textiles

The main materials for the clothes of noblemen and townspeople in the first half of the 19th century were machine-made printed silk, cotton, velvet and finely-made linen and cotton cloth, fine woollen cloth, and other kinds of woollen material. These fabrics were dyed blue, red, green or other colors, and often decorated with lively floral and geometric patterns. Gaily colored and printed linen, woollen, silk and cotton textiles were imported; fine linens, for instance, came from Bohemia, Moravia, Silesia and Austria; industrially-made woollens from Brno, Liberec and Vienna; and silk from Vienna. Clothing materials were advertised by merchants from Graz, Vienna, Bohemia and Moravia (Baš, A. 1985: 59).

The blue-printing trade depended chiefly on the demand for and consumption of blue-printed textiles by farming women. Despite the fact that the production of cotton cloth was no longer a privilege after 1762, until the middle of the 19th century most of farmers’ clothes were made of linen or of cloth which had been made at home or by rural weavers. When they were made into holiday clothes, these homemade fabrics were decorated with embroidery, lace, imported decorative ribbons, fringes, decorative stitches or pleats. Textiles were also decorated by dyeing (Žagar 1998: 99). Since the beginning of the 19th century, well-to-do farmers, men and women, who were living on the outskirts of towns occasionally wore their Sunday best made from store-bought, industrially-made materials such as silk, velvet and, especially, cotton. Aside from these in Štajerska individual items of farmers’ holiday clothing of that time were made from gaily-colored printed cotton, chintz or printed linen as well. Karel Russ’s watercolor from 1811 depicts a farming woman from Savinjska Dolina wearing a blue apron printed with white and yellow flowers (Geramb 1935: 229). During this period farmers from the Rogatec estate wore printed cotton vests in winter (Baš, A. 1984: 46). According to sources in 1814 wealthier farmers in the Slivnica castle near the Maribor estate wore vests made from printed cotton or printed linen on holidays, while “best” clothes for women consisted of skirts made of cajg (a coarse, durable cotton material) and aprons made either of cajg, cretonne or printed linen (Baš, A. 1984: 35–36).

In the 1830s people started wearing cotton clothes on holidays in Gorenjska, Dolenjska and Notranjska as well (Baš, A. 1985: 63–68). Before the middle of the 19th century, dyed and printed homemade linen was popular for women’s clothes, especially aprons and skirts. Carinthian women from the vicinity of Villach and Eisenkappel, for instance, wore skirts from home made blue-printed linen; those from the Eberndorf estate had blue and black linen, flower-printed aprons; women from the Planina estate in Notranjska liked aprons made from printed or dyed linen; and those from the Postojna estate wore skirts from differently dyed linen with stripes, checked or floral patterns. According to some sources, similar aprons made of homemade dyed and printed cloth were worn by the women from the Ruperčvrh estate in Dolenjska (Makarovič 1974: 54-55; Baš, A. 1984: 104).

As is evident from Goldenstein’s watercolors31 of Carniolan costumes from the 1830s, which formed the basis for later copper-engravings, and from Kordeš’s commentaries of these depictions (both were printed in Carniolija in 1944), this was the period when farmers were already wearing cotton and silk on holidays, and women’s aprons were often made of blue-dyed mangled linen, which was sometimes printed with white polka dots. Such aprons were worn by farming women from the vicinity of Ljubljana, Škofja Loka and its environs, Smlednik, Bohinj (Stopar 1993: 57, 61, 85) and Notranjska. According to Goldenstein’s depiction of clothes worn by farmers from the Ljubljana suburb of Trnovo (Stopar 1993: 69), which is simply a reconstruction of an older costume, and its description,32 it may be assumed that blue-printed textiles for aprons had arrived here by the end of the 18th century. Since Slovenia had no dye works which could practice blue-printing at the time, these materials were probably store-bought.

Blue-printed textiles became widely used in the second half of the 19th century. Watercolors of farmers’ costumes from that time, painted by Nikola Arsenović, reveal that the favourite textiles of the time were dyed in shades of blue, red and green, and printed with floral designs, stripes, polka dots or squares (Makarovič 1968: 100). Blue-dyed materials were commonly used for work clothes and, at the end of the century and especially among the wealthier families from Slovenske Gorice, for bedlinen (e.g. bedspreads dyed blue and printed with a floral design). At the beginning of the 20th century women from the vicinity of Vitanje wore clothes made from printed cotton or linen; the same material was used for men’s shirts in the vicinity of Vitanje and in Prlekija. This was when industrially-made blue-printed textiles became especially popular for dresses and aprons worn by rural women; blue aprons, printed on both sides, were worn by urban housewives as well. The popularity of blue-printed textiles did not diminish between the wars, or even after 1945 (Makarovič 1974: 55, 57). Blue-dyed homemade linen and cotton, printed either by hand or by machine, were also used for lining and strengthening work and holiday clothes and kerchiefs.33

The influence of blue-dyed printed textiles is still evident today, especially in women’s summer clothes. Light, industrially-made short-sleeved dresses, skirts and blouses made from cotton or other materials imitate colors or patterns from the past. The minute floral and geometrical motifs of modern textile designers recall the Biedermeier patterns found on hand-held metal printing blocks. Many a plastic tablecloth covering the tables of rural (and also urban) homes during the week recall the structure of blue-printed pattern sheets. Their motifs and patterns can also be found on the plastic shopping bags sold in Slovene stores. These items, made by foreign manufacturers and imported to Slovenia, illustrate that the patterns depicted on them were transferred to contemporary materials and to objects designed for different uses. Their decorative role, however, has not changed. These baroque and Biedermeier patterns, which contemporary designers have combined with modern stylized motifs, thus link the ornaments of the 18th and 19th centuries with the contemporary industrial design of today.


The Slovene Ethnographic Museum’s Blue-Printing Block Collection

The origin of the Slovene Ethnographic Museum’s collection of blueprinting blocks dates from 1906, when the-then Rudolfinum Provincial Museum purchased 40 blue-printing blocks from Marija Pokorn of Škofja Loka. Each block cost 6 kronen.34 Six of these blocks, which were used at the Pokorn dye works (pri Firbarju) at 33 Karlovec (today’s 8 Kopališka St), a suburb of Škofja Loka, were double blocks. Altogether the museum purchased 46 items. In 1914 they were given inventory numbers and divided into two groups: 2900–2907 and 6471–6508. Each item acquired an inventory number as an independent museum object even though it may have been part of a double block. In this manner all traces of double blocks from the Pokorn dye works gradually vanished.35 In 1924/25 these printing blocks were transferred from the National Museum to the Royal Ethnographic Museum (est. 1923). Among the 3,502 museum objects which had been brought to the museum from elsewhere, these represented the first of the future new ethnographic museum fund.36 During the preparations for this catalogue ten blocks were re-inventoried with Slovene Ethnographic Museum numbers, five blocks were recognized as double blocks and therefore treated in the catalogue as independent two-block units, and two blocks from the Pokorn dye works were not incorporated into the catalogue.

The museum acquired its next printing blocks before World War II, when three blue-printing blocks, which were used in Motnik, were purchased from Albert Korinšek of Ljubljana. Aside from data on the seller and the locality from which the blocks originated, there is no other information on these blocks in the museum’s inventory book.

The third group of printing blocks was acquired for the Slovene Ethnographic Museum by a group of museum workers conducting fieldwork research in and around Vitanje. The museum purchased 100 blue-printing blocks no longer in use from dyer Alojz Hofbauer at 108 Vitanje. Additional items purchased from Hofbauer included several pieces of clothing and textile samples printed at the Hofbauer dye works. These items acquired inventory numbers 9513–9610, 10009 and 10010. During preparations for this catalogue it was ascertained that one of them was a double block; it was therefore treated as an independent catalogue unit with two objects (blocks). Two of Hofbauer’s printing blocks have not been incorporated into the catalogue.

Aside from these objects the Slovene Ethnographic Museum has in its possession a block from the Pollak dye works in Tržič for which there is no data on when and how it came to the museum, and seven blocks whose provenance, time and manner of acquisition are unknown. Like the block from the Pollak dye works, these were inventoried only during the preparation of the catalogue.

Blue-printing blocks from the Slovene Ethnographic Museum’s collection can be classified according to several criteria; according to the type they can be either single or double (composed) blocks. Aside from the six blocks37 which, during the analysis of the collection were ascertained as double, thus consisting of two parts, most of the printing blocks in the museum’s collection are single. Double blocks were used for printing two-colored patterns on a blue background. According to the method of printing the pattern on the textile, these blocks are divided into those for repeat printing and those for stamp printing. Repeat blocks print a pattern which is continuously repeated in given intervals, e.g. blocks for printing borders with a specific oblong and narrow shape designed for ornamenting border surfaces. Stamp- printing blocks38 produce a completed whole which is not repeated again. Such blocks were used for ornamenting the corners on kerchiefs, tablecloths or final motifs on them, but could also represent the manufacturer’s trademark. Furthermore, printing blocks can be classified according to the material of their base surface, which can be wood, metal, or a combination of wood and metal. Blocks can also be defined according to the pattern on their base surface: they can have plant, animal, geometric or geometric/plant motifs.

According to their motifs, method of manufacture, or the material of the designs on their base surface, and also according to analogy with other blocks known from literature, most of the printing blocks from the Slovene Ethnographic Museum’s collection can be generally classified as belonging to the 19th century. This was also the period that saw the greatest flourishing of block-printing in Slovenia. In the first half of the 19th century, when this branch of dyeing increased in importance here, blue-printers bought printing blocks abroad. Most of these blocks echoed the Biedermeier style popular at the time, with floral ornaments predominant. The Biedermeier fashion first became popular for the clothes of the bourgeoisie, but was later copied for farmers’ clothes as well; the tiny floral designs, either woven into the fabric or printed on it, were close to the artistic ideals of the rural population. The oldest printing blocks in the Slovene Ethnographic Museum’s collection are single wooden repeat and stamp blocks with plant motifs (cat. nos. 31, 45 and 65), probably a combined wooden/metal block (cat. no. 26), and combined wooden/metal blocks on which metal pins and plates essentially complement the floral ornament in its most minute details.39 Since the rococo ornaments demanded minute and sophisticated floral details which could be made with metal pins, wooden blocks with metal appliqués were known in Europe from the second half of the 18th century. The development of blocks progressed into the block type with only metal appliqués, which attained its full value in the Biedermeier era. Design composition on the repeat blocks of that time contributed to the simplification of floral motifs and their stylization to the point when one can no longer speak of natural floral forms. The Biedermeier fashion also resulted in the creation of new elements of orientation, especially various geometric forms, and thus also printing blocks with a combined plant/geometric pattern. These blocks still contain a recognizable Biedermeier composition, but it starts to dissolve on blocks with pure geometric form.

Printing blocks with strongly stylized plant and geometric patterns or forms represent over a third of the Slovene Ethnographic Museum’s collection of blocks. Their designs comprise simple polka dot patterns of differing sizes and densities, wavy lines, zigzag, meandering or labyrinthine patterns, individual geometric shapes or complex structures formed by different geometric shapes on the base surface of the block. A special group of printing blocks consists of the above-mentioned double blocks, which form the design whole by the double printing of the blocks on the textile.40

It has already been mentioned that the Slovene Ethnographic Museum also possesses several blue-printed textiles: three pattern sheets from the Pokorn dyeing factory in Škofja Loka and several textile samples and items of clothing from the Hofbauer dye works in Vitanje. Textiles which have been blue-printed using hand-held blocks are unfortunately very rare in Slovene museum collections. A comparison between the designs on the printing blocks in our collection and the actual use of such textiles is therefore not possible to any great extent. Hand-printed blue textiles, used with increasing frequency also for everyday and work clothes since the second half of the 19th century, held no special importance for collectors. Because they were worn on a daily basis, such clothes made from inexpensive fabrics were quickly worn out and torn; in contrast to their “best” clothes, people did not try to preserve them as carefully or for as long as possible.



Notes

1 The following expressions are used for blue-printed textiles and blue-printing: blue-printing, also block-printing, resist-printing (English), Blaudruck (German), modrotisk (Czech), modrotlač (Slovak), kékfestés (Hungarian).

2 Field notes on the dyer’s trade in Škofja Loka by M. Sterle. The notes are kept at the Škofja Loka Museum, note file no. 665/1.

3 Cat. nos. 131, 132.

4 Marriage register of Tržič parish 1784–1843. The original is kept at Tržič parish office. This information was supplied by Nadja Gartner-Lenac, a curator at Tržič Museum.

5 Cat. no. 146.

6 The block is now part of the Tržič Museum collection.

7 Cat. nos. 1, 9, 16, 24, 25, 79; cf. Pechová 1998: 88, 91–92.

8 Information supplied by Tita Porenta, a curator at Tržič Museum.

9 Information supplied by Gojka Pejagič-Bregar, a curator at the National Museum of Slovenia.

10 Cat. nos. 1–25, 27–30, 131–140.

11 Cat. nos. 148, 149, 150.

12 Data supplied by Mojca Šifrer-Bulovec, a curator at Škofja Loka Museum.

13 Data on the Wagner family supplied by Marija Wagner, Radovljica.

14 Cat. nos. 31, 32, 33.

15 From: Splošni mariborski koledar in adresar, Maribor 1925.

16 Data supplied by Tone Petek, a curator at Maribor Regional Museum.

17 “When the cloth (wool) or sackcloth (flax and wool) are woven they are not yet ready for sewing – they are not evenly thick and compact. They need to be rolled in a rolling mill so that the fibres stick together, and mangled in a mangle, called monga or manga in Slovene.” (Kotnik 1949: 14).

18 Information supplied by Vladimir Šlibar, a curator at Celje Regional Museum.

19 From a letter dated May 2, 1920 sent by Ivan Hofbauer to his family in Vitanje, and several issues of professional magazines which Hofbauer subscribed to and which were sent to his address in Vitanje. Kept at the Slovene Ethnographic Museum.

20 St Peter and Paul parish chronicle, Vol. II (from July 1, 1914–), p. 89. Kept at the parish office in Vitanje.

21 Ibid., p. 168.

22 A letter from Alojz Hofbauer, dated June 19, 1956 to the regional people’s council in Slovenske Konjice. The document is kept at the Slovene Ethnographic Museum.

23 Information supplied by curator Vladimir Šlibar.

24 Cat. nos. 34–130.

25 Cat. nos. 151–157, 163, 164, 165.

26 Cat. nos. 158–162.

27 Acc. no. of the Slovene Ethnographic Museum: 1999/2.

28 The Technical Museum of Slovenia has in its collections 12 hand-held printing blocks purchased in Ljubljana. Information supplied by Estera Cerar, curator at the museum.

29 Ptuj Regional Museum, for example, has forty-one blue-printing blocks from Styria, Austria. These blocks were part of the cultural/historic collection donated to the town of Ptuj by Graz history professor Franc Ferk in 1898. Together with archaeological artefacts this collection presented the basis for later collections at the modern Ptuj museum (source: Pokrajinski muzej Ptuj – Zbirka vodniki; Inv. book of the ethnological department of the Ptuj Regional Museum). Andrej Brence, a curator at Ptuj Regional Museum, kindly allowed me to review the collection.

30 Information supplied by master dyer Alojz Hofbauer in June 1999. At the time Hofbauer was residing at the Slovenske Konjice Home for the Elderly.

31 The Słowianśćyzna album, with the original watercolors from the Korytko legacy, is kept at the Slovene Ethnographic Museum in Ljubljana.

32 Kordes’s commentary in Carniolija in 1844 refers to the fact that this costume was known 60 years ago – i.e. in the last quarter of the 18th century (see: Stopar 1993: 70). A. Baš was of the opinion that this costume was worn around 1800 or in the first quarter of the 19th century (cf: Baš 1984: 67).

33 Examples of the secondary use of blue-printed textiles from the Slovene Ethnographic Museum’s collections: Inv. no. 137 – skirt with bodice from Škofja Loka (inner waist border), inv. no. 6760 – skirt with bodice from the vicinity of Ljubljana (pocket), inv. no. 13269 – skirt with bodice from Zabukovje by Sevnica (collar border), inv. no. 2405, inv. no. 6231 – two head-dresses from Koroška (lining).

34 Rudolfmum Provincial Museum in Ljubljana, 1906 annual report, Ljubljana 1907, p. 17.

35 Inventory book of the Slovene National Museum in Ljubljana: NM 1–9424, p. 122.

36 Kr. etnografski muzej v Ljubljani, njega zgodovina, delo, načrti in potrebe. In: Etnolog 1, Ljubljana 1926, p. 139.

37 Cat. nos. 1, 9, 16, 24, 25, 79.

38 Cat. nos. 26, 65, 132, 146, 147.

39 As far as the motif and compositional structure are concerned, the block under cat. no. 18 is identical to the block kept at the Stralsund Museum in northern Germany (see Plotzki 1955: ill. no. 31).

40 The two double blocks under cat. nos. 1 and 24 have similar compositional and formal elements to the double printing block kept at the Moravian Provincial Museum in Brno (see Pechová 1998: 91).





LITERATURA / LITERATURE

Bachmann, Manfred / Reitz, Gunter,

1962: Der Blaudruck. Leipzig.

Balfour-Paul, Jenny,

1998: Indigo. London.

Baš, Angelos,

1984: Opisi kmečkega oblačilnega videza na Slovenskem v 1. polovici 19. stoletja. – Gradivo za narodopisje Slovencev 2, Ljubljana.

Baš, Angelos,

1985: Oblačilni materiali in sprejemanje oblačilne mode na Slovenskem v 1. polovici 19. stoletja. – Traditiones 14, str. 55–79.

Baš, Franjo,

1949: Prispevek k zgodovini naših moških noš. – Slovenski etnograf 2, str. 48–53.

Bizjak-Leskovec,

Ivana, 1986: Cerkno in Cerkljani (1910–1945). – Traditiones 15, str. 51–76.

Blaznik, Pavle,

1940: O cehih na Slovenskem. – V: Zbornik slovenskega obrta 1918–1938. Ljubljana, str. 57–72.

Demšar, Vinko,

1990: Barvarji (Firbarji) Pirci v Kranju v 18. in 19. stoletju. – V: Kranjski zbornik 1990. Kranj, str. 184–187.

Domonkos, Ottó,

1981: Blaudruckhandwerk in Ungarn. Budapest.

Domonkos, Ottó

1983: 1783–1983 Kluge. Zum zweihundertjärigen Jubiläum der Blaudruck-Werkstatt von Kluge in Pápa. [Papa, 1983].

Geramb, Viktor,

1935: Steirisches Trachtenbuch II. Graz.

Gorišek, Doroteja,

1959: Barvarska obrt v Škofji Loki. – Loški razgledi 6, str. 158–166.

Hribernik, Franc,

1954: Prispevek k zgodovini “mozirskega sukna”. – Slovenski etnograf 6–7, str. 119–120.

Kobe-Arzenšek, Katarina,

1968: Prvi tekstilni industrijski obrati na Slovenskem. – Publikacije Tehniškega muzeja Slovenije št. 14, Ljubljana.

Kotnik, Franc,

1943: Narodna noša v Mežiški dolini. – Slovenske starosvetnosti, Ljubljana, str. 37–40.

Kotnik, France,

1949: O valjanju domačega sukna. – Slovenski etnograf 2, str. 10–26.

Kovačič, F.,

1906: “Muže in mužanje”. Donesek k zgodovini domače obrti in narodne noše. – Časopis za zgodovino in narodopisje 3, str. 33–40.

Kragl, Viktor,

1936: Zgodovinski drobci župnije Tržič. Tržič.

Kresal, France,

1976: Tekstilna industrija v Sloveniji. Ljubljana.

Kulišer, Josif,

1959: Splošna gospodarska zgodovina 1–2. Ljubljana.

Ložar, Marta,

1949: Krila, predpasniki in pasovi. – Slovenski etnograf 2, str. 54–67.

Makarovič, Marija,

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1974: Modrotisk na Slovenskem. – Slovenski etnograf 25–26, str. 53–65.

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KATALOG


Uvodna pripomba

V katalogu so modeli razvrščeni od nižjih inventarnih številk Slovenskega etnografskega muzeja k višjim številkam. Podatki v posameznih kataloških enotah so razporejeni po naslednjem vrstnem redu: zaporedna (kataloška) številka, predmet, kraj uporabe, material, mere (š = širina, d = dolžina, v = višina), številka diapozitiva (št. dia.) v diateki Slovenskega etnografskega muzeja, inventarna številka (inv. št.) Slovenskega etnografskega muzeja, morebitna starejša inventarna številka (stara inv. št.), ki jo je imel predmet v Kranjskem deželnem muzeju. Sledi način pridobitve predmeta, njegov opis in komentar.

Za označitev mer je v pomoč priložena skica. Višina modela je seštevek višine osnovne deske ter morebitnih drugih desk in višine vzorca.




Katalogu modelov sledi katalog modro tiskanih tkanin iz Pokornove barvarske delavnice v Škofji Loki in iz Hofbauerjeve barvarske delavnice v Vitanju. Oboje hrani Slovenski etnografski muzej. Tkanine so bile za muzej zbrane kot primerki vzorcev modro tiskanega blaga, vsi primerki pa so iz bombaža. Tudi tukaj so predmeti razvrščeni od nižjih inventarnih številk k višjim. Podatki v posameznih kataloških enotah so razporejeni po enakem načelu kot pri modelih.

Številke v slikovni prilogi modelov ustrezajo zaporednim (kataloškim) številkam modelov v katalogu. Slikovna priloga modro tiskanih tkanin sledi slikovni prilogi modelov in tudi tukaj številke označujejo zaporedne (kataloške) številke ustreznih modro tiskanih tkanin v katalogu. Detajli sledijo fotografiji celega predmeta. Številke v tej prilogi ustrezajo tudi številkam, ki so navedene v komentarjih k posameznim modelom v katalogu.




Katalog modelov


1

MODEL, dvodelni / Škofja Loka /

a – trd les in medenina / š – 6,8 cm, d – 25 cm, v – 4,5 cm / št. dia. 4247 / inv. št. 1712 / stara inv. št. 6508.

b – trd les / š – 5,8 cm, d – 24,5 cm, v – 4 cm / št. dia. 4248 / inv. št. 1726 / stara inv. št. 6505.

Kranjski deželni muzej je model kupil od Marije Pokorn iz Škofje Loke leta 1906. Kraljevi etnografski muzej ga je prevzel v svoje zbirke v prvih letih po ustanovitvi. Model so uporabljali v Pokornovi barvarski delavnici v Škofji Loki, ki je delovala do prve svetovne vojne.

a – V lesen kvader so zabiti medeninasti žebljiči, ploščice in trakovi, tako da tvorijo cvet, obdan s stiliziranimi suličastimi listi in listnimi vejicami. Na skrajnih koncih osnovne ploskve se ponovi obrnjen polovični cvetni motiv. Tako zgoraj kot spodaj zamejujeta celotno kompozicijo medeninasta trakova, ob spodnjem so v vrsto zabiti kapljasti in okrogli žebljiči. V obe stranski ploskvi kvadra sta vdolbeni plitki oprijemali. Les je dobro ohranjen, kovinske aplikacije so nepoškodovane.

b – Drugi del dvodelnega modela je narejen iz lesenega kvadra, rastlinski vzorec na osnovni ploskvi pa je izrezljan. Osrednji cvetni motiv obdajata na levi in desni strani stilizirana listna vzorca, sestavljena iz štirih ozkih suličastih listov. Na skrajnih koncih osnovne ploskve se ponovi polovični osrednji cvetni motiv; na spodnjem delu pa zamejuje kompozicijo lesen trak. V obe stranski ploskvi sta vdolbeni plitki oprijemali. Les je dobro ohranjen, izrezljani deli so popolni.

Vsak del modela je bil inventariziran kot samostojen predmet. Model je namenjen dvobarvnemu tiskanju bordur; vzorci obeh delov se medsebojno dopolnjujejo in prekrivajo.


2

MODEL / Škofja Loka / trd les in medenina / š – 19,5 cm, d – 21 cm, v – 6,1 cm / št. dia. 4249 / inv. št. 1713 / stara inv. št. 6503.

Za predmet velja enaka pridobitev kot pri kat. št. 1. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči, ploščice in trakovi. Ti tvorijo dvojni niz menjajočih se stiliziranih rastlinskih vzorcev. Cvetni motiv je apliciran v obliki šestih romboidnih listov, ki so deloma zapolnjeni z lesenim polnilom. Listni motiv pa sestavlja pet suličastih listov in sedem drobnih vejic. Na treh vogalih in na robu stranske ploskve modela so zabiti štirje medeninasti nastavitveni žebljiči. V obe stranski ploskvi modela sta vdolbeni oprijemali, na čelni ploskvi je prostoročno z belo barvo napisana številka 85. Les je dobro ohranjen, kovinske aplikacije so popolne, deloma poškodovane.

Enak vzorec je odtisnjen na tkanini kat. št. 150/detajl 85.


3

MODEL / Škofja Loka / trd les in medenina / š – 17,5 cm, d – 20,3 cm, v – 4,8 cm / št. dia. 4250 / inv. št. 1714 / stara inv. št. 6498.

Za predmet velja enaka pridobitev kot pri kat. št. 1. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči in trakovi, ki tvorijo enake ponavljajoče se rastlinske vzorce v obliki cvetov in vejic z lističi. Cvetovi so na osnovni ploskvi modela razvrščeni v vzporedne in zamaknjene vrste. Na treh vogalih in na robu osnovne ploskve modela so zabiti štirje medeninasti nastavitveni žebljiči. V obe stranski ploskvi modela sta vdolbeni oprijemali. Na čelni ploskvi je prostoročno z belo barvo napisana številka 93. Les je dobro ohranjen, kovinske aplikacije so popolne in nepoškodovane.


4

MODEL / Škofja Loka / trd les in medenina / š – 19 cm, d – 22,5 cm, v – 4,8 cm / št. dia. 4251 / inv. št. 1715 / stara inv. št. 6472.

Za predmet velja enaka pridobitev kot pri kat. št. 1. Model je narejen iz deske, v katero so zabite medeninaste ploščice in trakovi, ki tvorijo rastlinsko-geometrijski vzorec v podobi vejic in vitic z drobnimi cvetovi oziroma lističi. Med kovinske ploščice je vstavljen les. Na osnovni ploskvi modela je rastlinski motiv razporejen v vzporednih, zamaknjenih vrstah. Praznine med polji zapolnjujejo v vzporednih vrstah zabite valovite medeninaste ploščice. Na treh vogalih in robu osnovne ploskve modela so zabiti štirje medeninasti nastavitveni žebljiči, v obe stranski ploskvi pa sta vdolbeni oprijemali. Na čelni ploskvi modela je prostoročno z rdečo barvo napisana številka 130. Les je dobro ohranjen, prav tako tudi kovinski deli modela.


5

MODEL / Škofja Loka / trd les in medenina / š – 19,8 cm, d – 24,3 cm, v – 6 cm / št. dia. 4252 / inv. št. 1716 / stara inv. št. 6499.

Za predmet velja enaka pridobitev kot pri kat. št. 1. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči, ploščice in trakovi, ki tvorijo rastlinske vzorce v treh vzporednih vrstah. Med temi rastlinskimi vzorci so tri polja zapolnjena s po dvema vzporednima vrstama debelejših in tanjših medeninastih žebljičev, ki tvorijo cikcak vzorec. Na treh vogalih in na robu osnovne ploskve modela so zabiti štirje medeninasti nastavitveni žebljiči. V obe stranski ploskvi modela sta vdolbeni oprijemali. Na čelni ploskvi modela sta slabo vidni prostoročno napisani številki 80 in 108 in rimska št. III. Na osnovni ploskvi se dobro vidi vrezana predložna skica za razdelitev polj, ki so bili modelarju v pomoč pri izdelavi ornamenta. Na vzorcu je še vidna sled modrega barvila. Les je deloma razpokan, kovinski deli modela so dobro ohranjeni.

Enak vzorec je odtisnjen na tkanini kat. št. 150/detajl 80.


6

MODEL / Škofja Loka / trd les / š – 1 cm, d – 22,7 cm, v – 3,7 cm / št. dia. 4253 / inv. št. 1717 / stara inv. št. 2905.

Za predmet velja enaka pridobitev kot pri kat. št. 1. Model je narejen iz tanke deske, na katero je pribitih 22 ožjih in širših lesenih okroglih čepov, ki si po velikosti sledijo v menjajočem se zaporedju. Čepi tvorijo točkast ornament, ki se kot bordura pojavlja na modro tiskanih robovih tkanin kot zaključni dekor. V obe stranski ploskvi modela sta vdolbeni oprijemali. Modelu manjkata krajna čepa, sicer je les dobro ohranjen.


7

MODEL / Škofja Loka / trd les in medenina / š – 18 cm, d – 23 cm, v – 5,5 cm / št. dia. 4254 / inv. št. 1718 / stara inv. št. 6476.

Za predmet velja enaka pridobitev kot pri kat. št. 1. Model je narejen iz deske, v katero so zabiti medeninasti trakovi, ki tvorijo dva enaka, med seboj prepletajoča se meandrasta vzorca. Ta se ponavljata po celotni osnovni ploskvi. Na štirih vogalih modela so zabiti medeninasti nastavitveni žebljiči, v obe stranski ploskvi sta vdolbeni oprijemali. Na čelni ploskvi modela je prostoročno z belo barvo zapisana št. 81. Les je dobro ohranjen, prav tako tudi kovinski trakovi.

Enak vzorec je odtisnjen na tkanini kat. št. 150/detajl 81.


8

MODEL / Škofja Loka / trd les in medenina / š – 17,5 cm, d – 20 cm, v – 6,4 cm / št. dia. 4255 / inv. št. 1720 / stara inv. št. 6479.

Za predmet velja enaka pridobitev kot pri kat. št. 1. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči, ploščice in trakovi, ki tvorijo cvetove s prepletajočimi stebli, okrašenimi z drobnimi lističi. Listi cvetov so deloma zapolnjeni z lesenim polnilom. Po osnovni ploskvi so cvetovi razporejeni v vzporednih zamaknjenih vrstah s po tremi cvetovi. Na treh vogalih modela in na stranski ploskvi so zabiti štirje medeninasti nastavitveni žebljiči. Na osnovno desko je na reverzni strani z žeblji pritrjena še ena deska iz trdega lesa, vanjo pa sta vdolbeni oprijemali. Na čelni ploskvi modela je prostoročno z belo barvo zapisana št. 76. Les je dobro ohranjen, vendar je osnovna deska počena po celotni širini, kovinske aplikacije so popolne in nepoškodovane.

Enak vzorec je odtisnjen na tkaninah kat. št. 148, 149 in 150/detajl 76.


9

MODEL, dvodelni / Škofja Loka /

a – trd les in medenina / š – 5,7 cm, d – 25 cm, v – 5,8 cm / št. dia. 4256 / inv. št. 1721 / stara inv. št. 6507.

b – trd les / š – 4,9 cm, d – 21,8 cm, v – 4,3 cm / št. dia. 4257 / inv. št. 18501 / stara inv. št. 2901.

Za predmet velja enaka pridobitev kot pri kat. št. 1.

a – Medeninasti žebljiči okroglih in zrnastih oblik so zabiti v lesen kvader in sestavljajo tri rastlinske vzorce, in sicer dveh različnih listov ter ploda. Kompozicijsko si na osnovni ploskvi sledijo izmenoma drug za drugim. Na štirih vogalih modela so zabiti medeninasti nastavitveni žebljiči (eden je odlomljen), v obe stranski ploskvi sta vdolbeni plitki oprijemali. Les je dobro ohranjen, kovinske aplikacije so popolne, vendar na izpostavljenih vogalih deloma poškodovane (ukrivljene).

b – Drugi del dvodelnega modela je prav tako narejen iz lesenega kvadra, rastlinski vzorec na osnovni plošči pa je iz nje izrezljan. Motivno je ornament sestavljen iz štirih enakih stiliziranih rastlinskih plodov, ki so razvrščeni na osnovni ploskvi v eni vrsti. V obe stranski ploskvi modela sta vdolbeni plitki oprijemali. Les je dobro ohranjen, ornament je nepoškodovan.

Vsak del modela je bil inventariziran kot samostojen predmet. Model je namenjen dvobarvnemu tiskanju bordur; vzorci obeh delov se medsebojno dopolnjujejo in prekrivajo.


10

MODEL / Škofja Loka / trd, mehek les in medenina / š – 19 cm, d – 23 cm, v – 5,4 cm / št. dia. 4258 / inv. št. 1722 / stara inv. št. 6480.

Za predmet velja enaka pridobitev kot pri kat. št. 1. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči, ploščice in trakovi, ki v štirih vrstah tvorijo rastlinski vzorec z vejicami, s cvetovi ali plodovi in vitičjem. V okrogle aplikacije rastlinskega okrasja je vstavljen les. Na vogalih modela so zabiti štirje medeninasti nastavitveni žebljiči. Na reverzni strani osnovne deske je prilepljena smrekova deska, ki ima v obeh stranskih ploskvah vdolbeni oprijemali. Na eni čelni ploskvi modela je prostoročno z belo barvo napisana št. 18, na drugi čelni ploskvi pa številka ni razločno vidna. Osnovna deska je na dveh mestih počena, kovinske aplikacije so dobro ohranjene.


11

MODEL / Škofja Loka / trd, mehek les in medenina / š – 18 cm, d – 21 cm, v – 5,8 cm / št. dia. 4259 / inv. št. 1723 / stara inv. št. 6484.

Za predmet velja enaka pridobitev kot pri kat. št. 1. Model je narejen iz deske, v katero so zabiti okrogli medeninasti žebljiči in žebljiči kapljaste oblike, tako da tvorijo rastlinski vzorec. Motivi vejic z lističi se ponavljajo z zamikom in tvorijo diagonalno razporejen vzorec. Na vogalih modela so zabiti štirje medeninasti nastavitveni žebljiči. Na reverzni strani osnovne deske je prilepljena smrekova deska, ki ima v obe stranski ploskvi vdolbeni oprijemali. Stranski in čelni ploskvi modela sta rjavordeče pobarvani, na eni čelni ploskvi je prostoročno z belo barvo zapisana št. 30, na drugi čelni ploskvi pa prostoročno z belo barvo št. 54. Les je dobro ohranjen, kovinske aplikacije so popolne in nepoškodovane.


12

MODEL / Škofja Loka / trd les in medenina / š – 20 cm, d – 23,5 cm, v – 5 cm / št. dia. 4260 / inv. št. 1725 / stara inv. št. 6473.

Za predmet velja enaka pridobitev kot pri kat. št. 1. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči različnih oblik in ploščice, tako da tvorijo rastlinski vzorec. Motivi prepletajočih se vitic z drobnimi cvetovi in motivi vejice z lističi se na osnovni ploskvi modela ponavljajo v vzporednih zamaknjenih vrstah. Na modelu so na treh vogalih in na robu stranske ploskve zabiti štirje medeninasti nastavitveni žebljiči. V obe stranski ploskvi sta vdolbeni oprijemali. Les je dobro ohranjen, kovinske aplikacije pa so nepopolne in poškodovane. Model je motivno enak kot pod kat. št. 66. Enak vzorec je odtisnjen na tkaninah kat. št. 154, 163, 164.


13

MODEL / Škofja Loka / trd les in medenina / š – 20 cm, d – 20,5 cm, v – 5,5 cm / št. dia. 4261 / inv. št. 1727 / stara inv. št. 6471.

Za predmet velja enaka pridobitev kot pri kat. št. 1. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči in tulci, ki tvorijo geometrijski vzorec. Tulci in žebljiči sestavljajo dvoje različnih kvadratastih motivov, ki so po ploskvi razporejeni v petih vzporednih vrstah. Kvadratasti vzorec iz tulcev je glede na osnovno ploskev obrnjen za 45 stopinj. Ciklično menjajoči se niz kvadratov v vsaki vrsti ustvarja vtis bogatega diagonalno strukturiranega vzorca. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči, v obe stranski ploskvi sta vdolbeni oprijemali. Na čelni ploskvi je prostoročno z belo barvo napisana št. 12. Leseni in kovinski deli modela so dobro ohranjeni.


14

MODEL / Škofja Loka / trd les in medenina / š – 19,5 cm, d – 26 cm, v – 5,7 cm / št. dia. 4262 / inv. št. 1729 / stara inv. št. 6474.

Za predmet velja enaka pridobitev kot pri kat. št. 1. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči, ploščice, trakovi in tulci, ki tvorijo stiliziran rastlinski vzorec v štirih vzporednih vrstah. Tulci imajo leseno polnilo. Motivno tvorijo kovinske aplikacije po dvoje enakih vrst stiliziranih vejic z lističi. Enak ornament se ponovi v vsaki drugi vrsti. Na treh vogalih in eni stranski ploskvi modela so zabiti medeninasti nastavitveni žebljiči, v obeh stranskih ploskvah sta vdolbeni oprijemali. Na eni čelni ploskvi je prostoročno z belo barvo napisana št. 43. Leseni in kovinski deli modela so dobro ohranjeni.


15

MODEL / Škofja Loka / trd, mehek les in medenina / š – 20 cm, d – 22,2 cm, v – 5,7 cm / št. dia. 4263 / inv. št. 1730 / stara inv. št. 6477.

Za predmet velja enaka pridobitev kot pri kat. št. 1. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči, ki tvorijo vzorec s prepletajočim vitičjem. Model ima na vogalih zabite tri medeninaste nastavitvene žebljiče. Na reverzni strani osnovne deske je pribita smrekova deska, ki ima vdolbeni dve oprijemali. Na čelni ploskvi je prostoročno z belo barvo napisana št. 162. Leseni in kovinski deli modela so dobro ohranjeni.


16

MODEL, dvodelni / Škofja Loka /

a – trd les / š – 2,3 cm, d – 20,5 cm, v – 4,5 cm / št. dia. 4264 / inv. št. 1731 / stara inv. št. 2900.

b – trd les in medenina / š – 3,7 cm, d – 22 cm, v – 5 cm / št. dia. 4451 / inv. št. 1724 / stara inv. št. 2902.

Za predmet velja enaka pridobitev kot pri kat. št. 1.

a – Iz lesenega kvadra je izrezljan enovrstni stiliziran cvetlični vzorec. Ornament sestavljajo štirje osemlistni cvetovi, med katere so vstavljeni štirje listni okraski. V obe stranski ploskvi kvadra sta vdolbeni plitki oprijemali. Les je dobro ohranjen, izrezljani okras pa je nepopoln.

b – Drugi del dvodelnega modela je prav tako narejen iz lesenega kvadra z izrezljanim enovrstnim lesenim in apliciranim kovinskim vzorcem. Motivno sestavljajo kovinske aplikacije štiri osemlistne cvetove, med katere so razporejeni štirje kvadrati, zapolnjeni z lesenim geometrijskim vzorcem in s kovinskimi okroglimi in zvezdastimi žebljiči. Celotno kompozicijo obdajata po celotni dolžini dva valovita medeninasta trakova. V obe stranski ploskvi sta vdolbeni plitki oprijemali. Les je dobro ohranjen, vzorci so popolni.

Vsak del modela je bil inventariziran kot samostojen predmet. Model je namenjen dvobarvnemu tiskanju bordur; vzorci obeh delov se medsebojno dopolnjujejo in prekrivajo.


17

MODEL / Škofja Loka / trd les in medenina / š – 16,5 cm, d – 18,3 cm, v – 5,7 cm / št. dia. 4265 / inv. št. 1732 / stara inv. št. 6481.

Za predmet velja enaka pridobitev kot pri kat. št. 1. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči in trakovi, ki sestavljajo osem enakih, vendar med seboj zrcalno obrnjenih in v vzporednih vrstah razporejenih šopkov vejic s plodovi, med katerimi so drobni stilizirani cvetovi. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi sta vdolbeni oprijemali, na čelni ploskvi pa sta prostoročno z belo barvo napisani št. 88 in prostoročno s črno barvo št. 94. Model je popoln, vendar je osnovna ploskev razsušena in razpokana.

Enak vzorec je odtisnjen na tkanini kat. št. 150/detajl 88.


18

MODEL / Škofja Loka / trd les in medenina / š – 16,5 cm, d – 18,5 cm, v – 5,1 cm / št. dia 4266 / inv. št. 1733 / stara inv. št. 6502.

Za model velja enaka pridobitev kot pri kat. št. 1. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči, trakovi in ploščice, ki tvorijo rastlinski vzorec. Motivno sta na deski dve enaki, vendar zrcalno obrnjeni podobi vejic s plodovi in s po tremi listi. Ena polovica vsakega posameznega lista je narejena iz kovinskih aplikacij, druga polovica pa je izrezljana iz osnovne deske. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči, v obe stranski ploskvi sta vdolbeni oprijemali. Na čelni ploskvi je z belo barvo prostoročno napisana nečitljiva številka. Les je dobro ohranjen, kovinske aplikacije so popolne in nepoškodovane.


19

MODEL / Škofja Loka / trd, mehek les in medenina / š – 20 cm, d – 24,5 cm, v – 5,7 cm / št. dia. 4267 / inv. št. 1734 / stara inv. št. 6500.

Za predmet velja enaka pridobitev kot pri kat. št. 1. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči in ploščice, ki tvorijo cvetlični vzorec. Motiv cveta z lističem se ponavlja v vzporednih in zamaknjenih vrstah po vsej osnovni ploskvi modela, polja med cvetovi pa zapolnjujejo drobni točkasti geometrijski liki. Na štirih vogalih modela so zabiti medeninasti nastavitveni žebljiči. Na reverzni strani osnovne deske je s šestimi vijaki in žebljem pričvrščena smrekova deska, v katero sta vdolbeni oprijemali. Na eni čelni ploskvi je prostoročno z belo barvo napisana št. 51, na drugi čelni ploskvi pa prostoročno z belo barvo št. 160. Les je dobro ohranjen, kovinske aplikacije so popolne in nepoškodovane.


20

MODEL / Škofja Loka / trd les in medenina / š – 16,5 cm, d – 19,5 cm, v – 5 cm / št. dia. 4268 / inv. št. 1735 / stara inv. št. 6478.

Za predmet velja enaka pridobitev kot pri kat. št. 1. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči, ploščice in trakovi, ki tvorijo vzorec vejic z listi, vitic in cvetov. Vzorec je razporejen v štirih vzporednih zamaknjenih vrstah. Lističi so deloma zapolnjeni z lesenim polnilom. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi sta vdolbeni oprijemali, na čelni ploskvi pa je prostoročno z belo barvo napisana številka 55. Les je dobro ohranjen, kovinske aplikacije so popolne in nepoškodovane.

Skoraj enak vzorec je na tkanini kat. št. 150/detajl 55. Odtisu na vzorčniku iz Slovenskega etnografskega muzeja ustreza model z inv. št. KDMP 2709/83 iz Firbarjeve delavnice v Škofji Loki. Hrani ga Loški muzej.


21

MODEL / Škofja Loka / trd les in medenina / š – 17,5 cm, d – 20,5 cm, v – 4,5 cm / št. dia. 4269 / inv. št. 1736 / stara inv. št. 6497.

Za predmet velja enaka pridobitev kot pri kat. št. 1. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči, ploščice in trakovi, ki tvorijo rastlinski vzorec. Kovinske aplikacije na osnovni ploskvi dopolnjujejo leseni izrezljani deli listnatega ornamenta. Ornament sestavlja dvoje vzporednih in enakomerno ponavljajočih se motivov rastlinskih stebel z lističi, vejicami in plodovi. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi modela sta vdolbeni oprijemali, na čelni ploskvi pa je prostoročno z rjavo barvo napisana št. 137. Les je dobro ohranjen, prav tako tudi kovinske aplikacije.


22

MODEL / Škofja Loka / trd les in medenina / š – 16,5 cm, d – 19 cm, v – 6 cm / št. dia. 4270 / inv. št. 1737 / stara inv. št. 6501.

Za predmet velja enaka pridobitev kot pri kat. št. 1. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči, ploščice in trakovi, ki tvorijo rastlinski vzorec. Vzorec, ki ga sestavljajo vejice z lističi in s plodovi, je na osnovni ploskvi razporejen v štirih vzporednih vrstah, pri tem pa so motivi v vsaki drugi vrsti obrnjeni v isto smer. Na štirih vogalih modela so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi modela sta vdolbeni oprijemali, na čelni ploskvi pa so prostoročno z belo barvo zapisane druga poleg druge številke 33, 61 in 82. Les je dobro ohranjen, kovinske aplikacije so popolne in nepoškodovane.


23

MODEL / Škofja Loka / trd les in medenina / š – 16 cm, d – 18,5 cm, v – 4,6 cm / št. dia. 4271 / inv. št. 1738 / stara inv. št. 6490.

Za predmet velja enaka pridobitev kot pri kat. št. 1. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči in trakovi v obliki šesterokrakih zvezdic, ki tvorijo geometrijski vzorec. Kovinski trakovi tvorijo vzporedne vrste valovnic, okrog katerih so zabiti žebljiči. Vrste valovnic in zvezdic si izmenoma sledijo po celotni osnovni ploskvi. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi modela sta vdolbeni oprijemali, na čelni ploskvi je prostoročno z belo barvo napisana št. 20. Les je dobro ohranjen, kovinski deli so popolni in nepoškodovani.


24

MODEL, dvodelni / Škofja Loka /

a – trd les in medenina / š – 8,5 cm, d – 27 cm, v – 5,6 cm / št. dia. 4272 / inv. št. 1739 / stara inv. št. 2904.

b – trd les / š – 7,5 cm, d – 26,7 cm, v – 5,6 cm / št. dia. 4273 / inv. št. 1740 / stara inv. št. 2903.

Za predmet velja enaka pridobitev kot pri kat. št. 1.

a – V lesen kvader so zabiti medeninasti žebljiči, ploščice in trakovi, ki sestavljajo cvetlični vzorec. Kovinske aplikacije tvorijo motiv listne vejice s po tremi večjimi rozetnimi cvetovi. Kompozicijsko sta po dva enaka motiva razporejena simetrično na osnovni ploskvi. Celoten vzorec zamejuje na zgornji strani modela točkasta linija iz okroglih medeninastih žebljičev, na spodnji strani modela pa trovrstni vzorec iz okroglih in zrnastih žebljičev. Na eni strani kvadra sta v dveh vogalih zabita medeninasta nastavitvena žebljiča. V obe stranski ploskvi modela sta vdolbeni plitki oprijemali. Les je dobro ohranjen, kovinske aplikacije so popolne in nepoškodovane.

b – Drugi del modela je iz lesenega kvadra, na katerem so iz osnovne ploskve izrezljani elementi, ki sledijo posameznim oblikam kovinskih aplikacij, kot so cvetni in stebelni listi na prejšnjem delu modela. Izrezljani romboidni trak, ki se prekriva s točkasto linijo kovinskih aplikacij, omejuje tudi ta vzorec na zgornji strani. Les je dobro ohranjen, izrezljani deli so deloma odlomljeni.

Vsak del modela je bil inventariziran kot samostojen predmet. Model je namenjen dvobarvnemu tiskanju bordur; vzorci obeh delov se medsebojno dopolnjujejo in prekrivajo.


25

MODEL, dvodelni / Škofja Loka /

a – trd les / š – 5,1 cm, d – 24 cm, v – 4 cm / št. dia. 4274 / inv. št. 1741 / stara inv. št. 6504.

b – trd les in medenina / š – 5,7 cm, d – 26,5 cm, v – 4,7 cm / št. dia. 4275 / inv. št. 1742 / stara inv. št. 6506.

Za predmet velja enaka pridobitev kot pri kat. št. 1.

a – Iz lesenega kvadra so v eni vrsti izrezljane štiri osemlistne rozete. Na sredini vsake rozete je izdolbena okrogla luknja. V obe stranski ploskvi sta vdolbeni plitki oprijemali. Les je dobro ohranjen, izrezljani deli so popolni in nepoškodovani.

b – Drugi del modela je iz lesenega kvadra, v katerega so zabiti medeninasti žebljiči, ploščice in trakovi, ki tvorijo cvetlični vzorec. Kompozicijo sestavljajo štiri osemlistne rozete, sestavljene iz trakov in okroglih žebljičev. Med rozetami so aplicirane listne vejice in droben geometrijski okras iz okroglih in zvezdastih žebljičev. Na eni strani kvadra sta v dveh vogalih zabita medeninasta nastavitvena žebljiča. V obe stranski ploskvi sta vdolbeni plitki oprijemali. Les je dobro ohranjen, kovinske aplikacije so popolne in nepoškodovane.

Vsak del modela je bil inventariziran kot samostojen predmet. Model je namenjen dvobarvnemu tiskanju bordur; vzorci obeh delov se medsebojno dopolnjujejo in prekrivajo.


26

MODEL / neznano / trd les in železo / š – 21 cm, d – 28,5 cm, v – 2,3 cm / št. dia. 4276 / inv. št. 1744 / stara inv. št. 2919.

V inventarni knjigi Kranjskega deželnega muzeja je predmet označen kot obrazec za desiniranje tkanine z letnico 1711.

Model je narejen iz deske, iz katere je izrezljan rastlinski vzorec – velika cvetova z listi in lističi. Polja med izrezljanimi motivi so zapolnjena z drobnimi in debelejšimi železnimi žebljiči. Na reverzni strani deske je vdolbeno polkrožno oblikovano oprijemalo, na čelni ploskvi modela pa je iz železnih žebljičev vtolčena slabo razločna št. 1311. Celoten model je rahlo konveksno upognjen in na vogalih oddrobljen, les pa na reverzni strani deloma črviv. Drobni železni žebljiči so zaradi rje večinoma poškodovani. Številka na čelni ploskvi modela je v inventarni knjigi Kranjskega deželnega muzeja zapisana kot letnica 1711, vendar pa zanesljivosti tega zapisa ne bi mogli potrditi.


27

MODEL / Škofja Loka / trd les in medenina / š – 20,5 cm, d – 20 cm, v – 5,4 cm / št. dia. 4277 / inv. št. 1745 / stara inv. št. 6483.

Za predmet velja enaka pridobitev kot pri kat. št. 1. Model je narejen iz deske, v katero so zabiti tanki okrogli in debelejši kvadratni medeninasti žebljički, ki sestavljajo meandrasti oziroma labirintni vzorec. Na dveh vogalih modela sta zabita medeninasta nastavitvena žebljiča, na enem vogalu manjka žebljič. V obe stranski ploskvi modela sta vdolbeni oprijemali, na čelni ploskvi je prostoročno z belo barvo napisana številka 39. Leseni del modela je dobro ohranjen, nekateri medeninasti žebljiči pa so odlomljeni. Enak vzorec je odtisnjen na tkanini kat. št. 150/detajl 75.


28

MODEL / Škofja Loka / trd, mehek les in medenina / š – 17,5 cm, d – 21,5 cm, v – 6,3 cm / št. dia. 4278 / inv. št. 1746 / stara inv. št. 6488.

Za predmet velja enaka pridobitev kot pri kat. št. 1. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči, ploščice in trakovi, ki tvorijo stiliziran rastlinski vzorec z lističi v romboidni obliki. V sredini romboidnih polj je apliciran okrasek (lahko bi bil stiliziran sadež) iz po dveh luničasto uvitih medeninastih ploščic, zapolnjenih z lesom. Zrnasto oblikovani medeninasti čepki z lesenim polnilom povezujejo stičišča med romboidnimi ploskvami. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. Na reverzno stran osnovne deske je pribita smrekova deska in v njeni stranski ploskvi sta izdolbeni oprijemali. Na čelni ploskvi modela pa je prostoročno z belo barvo napisana št. 52. Les je dobro ohranjen, vendar je osnovna ploskev po celotni širini počena, kovinske aplikacije so nepoškodovane.

Enak vzorec je odtisnjen na tkanini kat. št. 150/detajl 52.


29

MODEL / Škofja Loka / trd les in medenina / š – 18,5 cm, d – 21,5 cm, v – 6,3 cm / št. dia. 4279 / inv. št. 1747 / stara inv. št. 6489.

Za predmet velja enaka pridobitev kot pri kat. št. 1. Model je narejen iz deske, v katero so zabiti drobni okrogli in zrnasti medeninasti žebljiči, ki tvorijo geometrijsko-rastlinski vzorec. Okrogli žebljiči so razporejeni po modelu v vzporednih diagonalnih vrstah, tako da tvorijo romboidna polja. V sredini romboidnih polj so aplicirani po trije zrnasti žebljiči, ki dajejo vtis listnatega motiva. Na treh vogalih modela in na njegovi stranski ploskvi so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi sta vdolbeni oprijemali, na čelni ploskvi modela pa je prostoročno z belo barvo napisana št. 58. Leseni in kovinski deli modela so dobro ohranjeni.

Enak vzorec je odtisnjen na tkanini kat. št. 150/detajl 58.


30

MODEL / Škofja Loka / trd, mehek les in medenina / š – 18 cm, d – 21 cm, v – 5,2 cm / št. dia. 4280 / inv. št. 1748 / stara inv. št. 6487.

Za predmet velja enaka pridobitev kot pri kat. št. 1. Model je narejen iz deske, v katero so zabite medeninaste ploščice, ki tvorijo geometrijski vzorec. Posamezen element na modelu sestavljata po dve polkrožno uviti ploščici, ki sta z zamikom obrnjeni druga proti drugi in ustvarjata motiv dveh polkrogov. Motiv se na osnovni ploskvi ponavlja v vzporednih zamaknjenih vrstah. Na štirih vogalih modela so zabiti medeninasti nastavitveni žebljiči. Na reverzno stran osnovne ploskve je pribita smrekova deska in v njeni stranski ploskvi sta izdolbeni oprijemali. Na eni čelni ploskvi modela je prostoročno z belo barvo napisana št. 11, na drugi čelni ploskvi pa je št. 4, izoblikovana iz vtolčenih medeninastih trakov. Les je na enem vogalu počen in s tremi žebljiči pričvrščen na smrekovo podlago; kovinske aplikacije so nepoškodovane.

Enak vzorec je odtisnjen na tkanini kat. št. 150/detajl 57.


31

MODEL / Motnik / trd les / š – 15 cm, d – 20,5 cm, v – 4,8 cm / št. dia. 4281 / inv št. 2073.

Etnografski muzej je predmet kupil od Alberta Korinška iz Ljubljane pred drugo svetovno vojno.

Cvetlični vzorec modela je izrezljan iz deske. Dekoracijo sestavlja osem prepletajočih se cvetov s po tremi listi in stebli. Cvetovi so razporejeni po osnovni ploskvi v vzporednih zamaknjenih vrstah. Model nima nastavitvenih žebljičkov. V obe stranski ploskvi sta vdolbeni oprijemali. Les je dobro ohranjen, deloma so odlomljena cvetna stebla. Po analogiji s podobnimi lesenimi modeli bi bil lahko ta model del dvodelnega modela.


32

MODEL / Motnik / trd les in medenina / š – 17 cm, d – 18,5 cm, v – 4,3 cm / št. dia. 4282 / inv. št. 2074.

Za predmet velja enaka pridobitev kot pri kat. št. 31. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči, ploščice in trakovi, ki tvorijo rastlinski vzorec. Kovinske aplikacije tvorijo droben motiv vejic z lističi. Dva lističa v ornamentu sta zapolnjena z lesenim polnilom. Motivi so razporejeni po osnovni ploskvi modela v vzporednih zamaknjenih vrstah, tako da tvorijo polja med posameznimi elementi romboidni vzorec. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči, manjka pa žebljič na robu stranske ploskve. V obe stranski ploskvi sta vdolbeni oprijemali, na obeh čelnih ploskvah je prostoročno s črno barvo napisana št. 20. Les je dobro ohranjen, aplikacije so popolne.


33

MODEL / Motnik / trd les in medenina / š – 16 cm, d – 19 cm, v – 2,7 cm / št. dia. 4283 / inv. št. 2075.

Za predmet velja enaka pridobitev kot pri kat. št. 31. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči in kvadrati, ki tvorijo geometrijski vzorec. Motivno tvorijo okrogli žebljiči kvadrat, sestavljen iz štirih manjših kvadratov. Ti večji kvadrati so razporejeni v vzporednih vrstah po vsej širini modela. Med vrstami so prav tako v vzporednih vrstah zabiti majhni medeninasti kvadratni tulci, ki so zapolnjeni z lesenim polnilom. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. Na reverzni strani osnovne deske je bila verjetno deska, ki pa manjka. Les je dobro ohranjen, žebljiči, ki sestavljajo ornament, so povečini ukrivljeni ali pa tudi manjkajo.


34

MODEL / Vitanje / trd les in medenina / š – 5 cm, d – 23,7 cm, v – 4,8 cm / št. dia. 4284 / inv. št. 9513.

Etnografski muzej je predmet kupil leta 1963 od Alojza Hofbauerja iz Vitanja. Model so uporabljali v Vitanju v Hofbauerjevi barvarski delavnici, ki je delovala še v prvem desetletju 20. stoletja.

Model je narejen iz lesenega kvadra, v katerega so zabiti medeninasti žebljiči, trakovi in ploščice, ki tvorijo geometrijski vzorec. Žebljiči okrogle in zrnaste oblike različnih debelin in velikosti tvorijo valovnice. Na modelu so še trije popolni in dva polovična trikotna lika. Celotno kompozicijo zamejujeta vrsti gosto zabitih okroglih žebljičev. Ob robovih celotne dolžine modela sta vrezani dve črti, ki pa z medeninastim trakom nista bili zapolnjeni. Na dveh vogalih modela sta bila zabita nastavitvena žebljiča, ki manjkata; na čelni ploskvi modela je prostoročno z belo barvo napisana št. 10. Les je dobro ohranjen, kovinske aplikacije so popolne.


35

MODEL / Vitanje / trd les in medenina / š – 5,7 cm, d – 21,5 cm, v – 5,3 cm / št. dia. 4285 / inv. št. 9514.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz lesenega kvadra, v katerega so zabiti medeninasti žebljiči, trakovi in tulci, ki tvorijo geometrijski in stiliziran cvetni vzorec. Motivno sestavljajo kovinske aplikacije dve vrsti meandrasto oblikovanih ornamentov s točkastimi polji in dva različna rozetna motiva, ki sta v vrsti izmenoma razporejena med meandrasti vzorec. Na eni strani modela so v vrsti po celi dolžini zabiti žebljiči zvezdaste oblike. Na osnovni ploskvi sta po celi dolžini vrezani dve črti, ki pa z aplikacijo nista bili zapolnjeni. V obe stranski ploskvi modela sta vdolbeni plitki oprijemali, na čelni ploskvi je prostoročno z belo barvo napisana št. 25. Les je dobro ohranjen, kovinske aplikacije so popolne; na enem vogalu je model preventivno ojačan z medeninastim trakom.


36

MODEL / Vitanje / trd les in medenina / š – 18 cm, d – 21 cm, v – 6 cm / št. dia. 4286 / inv. št. 9515.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči in ploščice, ki tvorijo geometrijski vzorec. Vsak motiv sestavljajo po dva ovalna žebljiča in dve uviti ploščici v obliki črke s. Vzorec je razvrščen v vzporednih in zamaknjenih vrstah, med katerimi so vrste okroglih žebljičev. Na osnovni ploskvi modela so vidne sledi točkastega vzorca, ki pa ni bil izveden. Na štirih vogalih modela so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi modela sta vdolbeni oprijemali, na eni čelni ploskvi je s šablono in belo barvo napisana št. 207, na drugi čelni ploskvi pa prostoročno z belo barvo št. 228. Les je malo črviv, kovinske aplikacije so skorajda vse ohranjene.


37

MODEL / Vitanje / trd les in medenina / š – 17 cm, d – 21,2 cm, v – 4,5 cm / št. dia. 4287 / inv. št. 9516.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči in ploščice, ki tvorijo droben geometrijski vzorec. Vsak motiv tvorijo po dva okrogla žebljiča in dve uviti ploščici v obliki črke s. Vzorec je razvrščen v vzporednih in zamaknjenih vrstah. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi modela sta vdolbeni oprijemali, na eni čelni strani modela je s šablono in z belo barvo napisana št. 57, na drugi čelni ploskvi pa prostoročno z belo barvo št. 356. Les je malo črviv, kovinske aplikacije so popolne.


38

MODEL / Vitanje / trd les / š – 15,7 cm, d – 24 cm, v – 6 cm / št. dia. 4288 / inv. št. 9517.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, iz katere je izrezljan geometrijski vzorec. Motiv štirikrakih zvezdic je na osnovni ploskvi razporejen v križajočih se diagonalnih vrstah, tako da tvorijo romboidna polja. Na štirih vogalih modela in na robovih dveh stranskih ploskev so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi sta vdolbeni oprijemali, na eni čelni ploskvi modela je prostoročno z belo barvo napisana št. 152, na drugi čelni ploskvi pa prostoročno z belo barvo št. 182 in nad njo s šablono in z belo barvo št. 226. Les je malo črviv, ornament pa je ponekod poškodovan oziroma odlomljen.


39

MODEL / Vitanje / trd les in medenina / š – 18 cm, d – 21,8 cm, v – 5,2 cm / št. dia. 4289 / inv. št. 9518.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabite medeninaste ploščice, ki tvorijo geometrijski vzorec. Ploščice romboidne oblike so zabite v vzporedne in zamaknjene vrste; aplikacije vsake druge vrste so obrnjene v isto smer. Na treh vogalih modela so bili zabiti medeninasti nastavitveni žebljiči, a manjkajo. V obe stranski ploskvi modela sta vdolbeni oprijemali, na čelni ploskvi pa je s šablono in z belo barvo napisana št. 97. Les je slabo ohranjen, črviv, razpokan, nekaj kovinskih ploščic manjka.


40

MODEL / Vitanje / trd les in medenina / š – 17 cm, d – 20,5 cm, v – 5 cm / št. dia. 4290 / inv. št. 9519.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči in ploščice, ki tvorijo stilizirano vejico z lističi in cvetovi. Vzorec je na osnovni ploskvi razporejen v vzporedne vrste, med katerimi so kvadratna polja. Vzorec ni izdelan po predlogi, ki je zarisana na osnovni ploskvi, saj vsaka druga vrsta ni bila zapolnjena z aplikacijami. Na dveh vogalih modela sta zabita medeninasta nastavitvena žebljiča, en žebljič manjka. V obe stranski ploskvi sta vdolbeni oprijemali, na eni čelni ploskvi modela je prostoročno z belo barvo napisana št. 50, na drugi čelni ploskvi pa s šablono in z belo barvo št. 170. Les je ohranjen, kovinske aplikacije so deloma poškodovane.


41

MODEL / Vitanje / trd, mehek les in medenina / š – 18,5 cm, d – 21,3 cm, v – 5,8 cm / št. dia. 4291 / inv. št. 9520.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabite medeninaste ploščice, ki tvorijo gost geometrijski vzorec. Ploščice romboidne oblike so zabite v vzporedne in zamaknjene vrste; aplikacije vsake druge vrste so obrnjene v isto smer. Na treh vogalih modela in na robu stranske ploskve so zabiti medeninasti nastavitveni žebljiči. Na reverzno stran osnovne deske je z žeblji pritrjena smrekova deska, v katere stranski ploskvi sta vdolbeni oprijemali. Na čelni ploskvi modela pa je prostoročno z belo barvo napisana št. 164, nad njo pa s šablono in z belo barvo št. 206. Les je dobro ohranjen, prav tako tudi kovinske aplikacije.

Enak vzorec je odtisnjen na tkaninah kat. št. 155 in št. 159.


42

MODEL / Vitanje / trd les in medenina / š – 18,3 cm, d – 23,3 cm, v – 5 cm / št. dia. 4292 / inv. št. 9521.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči in ploščice, ki tvorijo droben stiliziran rastlinski in geometrijski vzorec. Dva različna motiva se izmenoma ponavljata v vzporednih vrstah. Na treh voglih modela so zabiti medeninasti nastavitveni žebljiči. Oprijemali sta vdolbeni v reverzno stran smrekove deske, na eni čelni ploskvi modela je prostoročno z belo barvo napisana št. 170, na drugi čelni ploskvi pa s šablono in z belo barvo št. 22. Les je slabo ohranjen, črviv, kovinske aplikacije niso popolne.


43

MODEL / Vitanje / trd les in medenina / š – 18,3 cm, d – 23,7 cm, v – 5,2 cm / št. dia. 4293 / inv. št. 9522.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči, ki tvorijo geometrijski vzorec. Okrogli in trikotni žebljiči tvorijo motiv dveh drug proti drugemu postavljenih enakokrakih trikotnikov med štirimi točkastimi elementi. Vzorec je razporejen v vzporednih zamaknjenih vrstah. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. Oprijemali sta vdolbeni v reverzno stran deske, na eni čelni strani modela je prostoročno in z belo barvo napisana št. 172, na drugi čelni ploskvi pa s šablono in z belo barvo št. 212. Les je črviv, kovinske aplikacije pa so popolne.


44

MODEL / Vitanje / trd, mehek les in medenina / š – 19,5 cm, d – 23,5 cm, v – 5,7 cm / št. dia. 4294 / inv. št. 9523.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti okrogli in ovalni medeninasti žebljiči, ki tvorijo šestlistni simetrični (zrcalni) vzorec. Ta je na osnovni ploskvi modela razporejen v vzporednih vrstah. V vsaki vrsti je vzorec izmenoma obrnjen za 90 kotnih stopinj. Na reverzno stran osnovne plošče sta pritrjeni še dve smrekovi deski; v spodnjo desko sta vdolbeni oprijemali. Les je slabo ohranjen, osnovna plošča je večkrat počena in na vogalu odlomljena, kovinske aplikacije niso popolne. Spodnji smrekovi deski sta slabo ohranjeni.


45

MODEL / Vitanje / trd, mehek les / š – 15,5 cm, d – 18 cm, v – 5 cm / št. dia. 4295 / inv. št. 9524.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, iz katere je izrezljanih dvanajst stiliziranih rozet s po šestimi listi. Rozete so razporejene v štiri vrste, ki so med seboj vzporedne in zamaknjene. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. Na reverzno stran osnovne deske je pritrjena smrekova deska z izžaganima oprijemaloma. Na eni čelni ploskvi sta prostoročno z belo barvo napisani št. 28 in 27, na drugi čelni ploskvi pa s šablono in z belo barvo št. 60. Deska je dobro ohranjena, vzorec pa je deloma poškodovan. Glede na motiv, ki se zdi kompozicijsko nepopoln, bi bil predmet lahko del dvodelnega modela, podobnega kat. št. 54.


46

MODEL / Vitanje / trd les in medenina / š – 17,5 cm, d – 20 cm, v – 4,3 cm / št. dia. 4296 / inv. št. 9525.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti okrogli medeninasti žebljiči, ki sestavljajo točkast vzorec. Ta je razporejen v vzporednih vrstah po celotni dolžini modela. Vsak vzorec tvorijo trije žebljiči, zabiti drug poleg drugega. Na dveh vogalih modela sta zabita medeninasta nastavitvena žebljiča, v enem vogalu pa manjka žebljič. V obe stranski ploskvi sta vdolbeni oprijemali, na čelni ploskvi modela pa sta prostoročno z belo barvo napisani št. 211 in nad njo s šablono in z belo barvo št. 140. Les je črviv, kovinske aplikacije so povečini nepoškodovane.


47

MODEL / Vitanje / trd les in medenina / š – 17,3 cm, d – 21 cm, v – 5,8 cm / št. dia. 4297 / inv. št. 9526.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti okrogli medeninasti žebljiči, ki sestavljajo točkast vzorec. Ta je neenakomerno razporejen po celi površini modela. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi sta vdolbeni oprijemali, na eni čelni ploskvi modela je prostoročno z belo barvo napisana št. 345, na drugi čelni ploskvi pa s šablono in z belo barvo št. 120. Les je dobro ohranjen, kovinske aplikacije so popolne.


48

MODEL / Vitanje / trd les in medenina / š – 18,6 cm, d – 23 cm, v – 3,8 cm / št. dia. 4298 / inv. št. 9527.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti okrogli in polkrožni medeninasti žebljiči, ki tvorijo droben točkast vzorec, razporejen v vzporednih zamaknjenih vrstah. Vsak motiv sestavljajo štirje polkrožni žebljiči in deset okroglih žebljičev, razporejenih v okrogel vzorec. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi modela sta vdolbeni oprijemali, na čelni ploskvi modela pa je prostoročno z belo barvo napisana št. 354 in nad njo s šablono in z belo barvo št. 178. Les je črviv, kovinske aplikacije so poškodovane.


49

MODEL / Vitanje / trd les in medenina / š – 18 cm, d – 21 cm, v – 4 cm / št. dia. 4299 / inv. št. 9528.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti tulci, ki so zapolnjeni z lesom, in tvorijo točkast vzorec. Ta je razporejen v vzporednih zamaknjenih vrstah po celi ploskvi modela. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi modela sta vdolbeni oprijemali, na čelni ploskvi pa je prostoročno z belo barvo napisana št. 224 in nad njo s šablono in z belo barvo št. 126. Les je črviv, vzorec pa je popoln. Enak vzorec je odtisnjen na tkanini kat. št. 153.


50

MODEL / Vitanje / trd les in medenina / š – 18,3 cm, d – 20 cm, v – 5,6 cm / št. dia. 4300 / inv. št. 9529.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti okrogli medeninasti žebljiči, ki tvorijo gostejši točkast vzorec. Ta je razporejen po osnovni ploskvi v vzporednih zamaknjenih vrstah; v vsaki drugi vrsti pa je izpuščen vsak drugi žebljiček. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči, v enem vogalu manjka žebljič. V obe stranski ploskvi sta vdolbeni oprijemali. Les je črviv, kovinske aplikacije so popolne.


51

MODEL / Vitanje / trd les in medenina / š – 16,5 cm, d – 20,2 cm, v – 4 cm / št. dia. 4301 / inv. št. 9530.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči, trakovi in ploščice, ki tvorijo po dva geometrijska in dva stilizirana rastlinska vzorca. Kovinske aplikacije so razvrščene v štiri vzporedne vrste, in sicer tako, da se geometrijski in rastlinski vzorec zamenjujeta v vsaki drugi vrsti. Med ploščice rastlinskega vzorca je vstavljen les. Model nima ohranjenih nastavitvenih žebljičev. V obe stranski ploskvi sta vdolbeni oprijemali, na čelni ploskvi modela sta prostoročno s šablono in z belo barvo nerazločno napisani dve številki. Les je črviv, del modela manjka.


52

MODEL / Vitanje / trd les in medenina / š – 19 cm, d – 24 cm, v – 5,8 cm / št. dia. 4302 / inv. št. 9531.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči in ploščice, ki tvorijo stiliziran cvet, sestavljen iz štirih ploščic in petih žebljičev. Vzorec je razporejen v vzporednih zamaknjenih vrstah. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi sta vdolbeni oprijemali, na čelni ploskvi modela pa je s šablono in z belo barvo napisana št. 164. Les je črviv, kovinske aplikacije deloma manjkajo.

Enak vzorec je odtisnjen na tkaninah kat. št. 156 in št. 158.


53

MODEL / Vitanje / trd les in medenina / š – 4,8 cm, d – 21 cm, v – 4,5 cm / št. dia. 4303 / inv. št. 9532.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz lesenega kvadra, v katerega so zabiti medeninasti žebljiči, ploščice in trakovi, ki tvorijo geometrijski vzorec. Motiv, ki se na modelu dvanajstkrat ponovi, sestavljajo simetrično zabiti trikotni, zrnasti žebljiči in rahlo uvite ter polkrožne ploščice, ki jih obdaja ovalni trak. Na zgornji in spodnji strani modela teče vrsta polkrožno uvitih ploščic z okroglimi žebljiči. Na dveh vogalih modela sta zabita medeninasta nastavitvena žebljiča. V obe stranski ploskvi sta vdolbeni plitvi oprijemali. Les je dobro ohranjen, kovinske aplikacije popolne.

Enak vzorec je odtisnjen na tkaninah kat. št. 151 in št. 160.


54

MODEL / Vitanje / trd, mehek les in medenina / š – 16,5 cm, d – 20,5 cm, v – 5,8 cm / št. dia. 4304 / inv. št. 9533.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči, ki tvorijo okrogel točkast vzorec. Ta je razporejen v vzporedne zamaknjene vrste. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. Na reverzno stran osnovne deske je pribita smrekova deska z izžaganima oprijemaloma. Na eni čelni ploskvi je prostoročno z belo barvo napisana št. 26, na drugi čelni ploskvi pa prostoročno z belo barvo št. 26, nad njo pa s šablono in z belo barvo št. 55. Les je črviv, kovinske aplikacije so popolne in nepoškodovane. Glede na motiv, ki se zdi kompozicijsko nepopoln, bi lahko bil predmet del dvodelnega modela, podobnega kat. št. 45.


55

MODEL / Vitanje / trd, mehek les in medenina / š – 19 cm, d – 21 cm, v – 6,5 cm / št. dia. 4305 / inv. št. 9534.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti okrogli medeninasti žebljiči. Motiv je sestavljen iz dveh tanjših in dveh debelejših žebljičev, ki tvorijo droben romboidni vzorec, razporejen v vzporednih zamaknjenih vrstah. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. Na reverzno stran osnovne deske je pribita smrekova deska, v obe njeni stranski ploskvi sta vdolbeni oprijemali. Na eni čelni ploskvi je prostoročno z belo barvo napisana št. 127, na drugi čelni ploskvi pa s šablono in z belo barvo št. 255. Les in kovinske aplikacije so dobro ohranjeni.


56

MODEL / Vitanje / trd les in medenina / š – 17 cm, d – 20 cm, v – 4 cm / št. dia. 4306 / inv. št. 9535.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti debelejši okrogli medeninasti žebljiči, ki tvorijo točkast vzorec. Žebljiči so razporejeni v vzporednih zamaknjenih vrstah. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi sta vdolbeni oprijemali, na eni čelni ploskvi modela je prostoročno in z belo barvo napisana št. 2, na drugi stranski ploskvi pa s šablono in z belo barvo št. 135. Les je črviv, žebljiči so ohranjeni.


57

MODEL / Vitanje / trd les in medenina / š – 19 cm, d – 25 cm, v – 5,2 cm / št. dia. 4307 / inv. št. 9536.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti debelejši okrogli medeninasti žebljiči, ki tvorijo gostejši točkast vzorec. Žebljiči so razporejeni v vzporednih zamaknjenih vrstah. Na dveh vogalih modela sta zabita medeninasta nastavitvena žebljiča, eden manjka. V obe stranski ploskvi sta vdolbeni oprijemali, številke na čelnih ploskvah so izbrisane. Les je dobro ohranjen, kovinske aplikacije so popolne. Enak vzorec je odtisnjen na tkanini kat. št. 157.


58

MODEL / Vitanje / trd les in medenina / š – 17 cm, d – 21 cm, v – 4,3 cm / št. dia. 4308 / inv. št. 9537.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči in ploščice, ki tvorijo cvetlični vzorec z lističi. Motiv je sestavljen iz okroglega žebljiča in dveh zrnastih žebljičev ter iz uvite ploščice. Aplikacije so oblikovane v majhen cvet s stebelcem. Vzorec je po modelu razporejen v vzporednih in zamaknjenih vrstah. Na dveh vogalih modela sta zabita medeninasta nastavitvena žebljiča, v enem vogalu manjka žebljič. V obe stranski ploskvi sta vdolbeni oprijemali, na čelni ploskvi modela je prostoročno z belo barvo napisana št. 233. Les je črviv, del modela manjka, kovinske aplikacije so nepopolne.


59

MODEL / Vitanje / trd les, medenina in železo / š – 19 cm, d – 18,5 cm, v – 3,8 cm / št. dia. 4309 / inv. št. 9538.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti žebljiči, ki tvorijo stiliziran cvetlični vzorec. Motiv sestavljajo debelejši železni žebljiček in okrog njega zabiti tanjši medeninasti žebljiči. Vzorec je razporejen v vzporednih zamaknjenih vrstah. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi sta vdolbeni oprijemali, na eni čelni ploskvi je prostoročno z belo barvo napisana št. 67, na drugi čelni ploskvi pa s šablono in z belo barvo št. 13. Les je počen in na enem vogalu ojačan z medeninastim trakom, kovinske aplikacije so nepoškodovane.


60

MODEL / Vitanje / trd, mehek les in medenina / š – 19,5 cm, d – 24,5 cm, v – 6,7 cm / št. dia. 4310 / inv. št. 9540.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti okrogli in ovalni žebljiči, ki sestavljajo točkast vzorec. Ovalni medeninasti žebljiči so v parih zabiti v vzporedne zamaknjene vrste, med njimi so zabiti okrogli žebljiči. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. Na reverzno stran osnovne deske je pribita smrekova deska z izžaganima oprijemaloma. Na eni čelni ploskvi je prostoročno z belo barvo napisana št. 19, na drugi čelni ploskvi pa s šablono in z belo barvo rimska št. III. Les je črviv, kovinske aplikacije so popolne.


61

MODEL / Vitanje / trd les in medenina / š – 16,5 cm, d – 20 cm, v – 2,5 cm / št. dia. 4311 / inv. št. 9541.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči in ploščice, ki tvorijo rastlinski vzorec. Motiv cveta sestavijo žebljiči in ukrivljena ploščica. Vzorec je razporejen v vzporednih vrstah. Na modelu se jasno razloči, da naj bi bil vzorec gostejši, vendar vsaka druga (zamaknjena vrsta) ni bila izpolnjena z medeninastimi aplikacijami. Modelu manjkajo nastavitveni žebljiči. Na reverzno stran osnovne deske je pritrjena še ena deska iz trdega lesa. V obe stranski ploskvi te druge deske sta vdolbeni oprijemali. Na eni čelni ploskvi je prostoročno z belo barvo napisana št. 279, na drugi čelni ploskvi pa s šablono in z belo barvo št. 139. Les je črviv, nekaj aplikacij je nepopolnih in poškodovanih.


62

MODEL / Vitanje / trd les in medenina / š – 16 cm, d – 19 cm, v – 4,8 cm / št. dia. 4312 / inv. št. 9542.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti okrogli medeninasti žebljiči, ki tvorijo droben točkast vzorec. Motiv sestavljajo trije tanjši žebljiči, ki so v polkrogu zabiti nad debelejšim žebljičem. Vzorec je razporejen v vzporednih zamaknjenih vrstah. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi sta vdolbeni oprijemali, na čelni ploskvi je prostoročno z belo barvo napisana št. 297, nad njo pa s šablono in z belo barvo št. 121. Les je črviv, kovinske aplikacije so nepopolne in poškodovane.


63

MODEL / Vitanje / trd les in medenina / š – 2,2 cm, d – 27 cm, v – 4 cm / št. dia. 4313 / inv. št. 9544.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz lesenega kvadra, v katerega so zabiti medeninasti žebljiči in ploščice, ki tvorijo rastlinski vzorec. Iz lesene osnove je po celotni dolžini modela izrezljan dvojni cikcakast ornament, ki ga zapolnjujejo okrogli medeninasti žebljiči. V poljih ob lesenem ornamentu tvorijo kovinske aplikacije vejice z listi in drobnimi cvetovi. Na dveh vogalih modela sta zabita medeninasta nastavitvena žebljiča. V obe stranski ploskvi sta vdolbeni plitki oprijemali. Les je črviv, izrezljani vzorec obrabljen, kovinske aplikacije pa so povečini ohranjene.


64

MODEL / Vitanje / trd les in medenina / š – 19,5 cm, d – 22,7 cm, v – 4,5 cm / št. dia. 4314 / inv. št. 9545.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči, ploščice in trakovi, ki tvorijo rastlinski vzorec. Motiv dveh vejic povezujejo med seboj meandrasto zabiti drobni žebljiči. Vzorec je razporejen v vzporednih vrstah, ki jih ločuje niz petih medeninastih trakov, med katere so zabiti okrogli žebljiči. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi sta vdolbeni oprijemali, na eni čelni ploskvi je prostoročno in z belo barvo napisana slabo vidna št. 128, nad njo pa s šablono in z belo barvo št. 253, na drugi čelni ploskvi je zapisana nerazpoznavna številka. Les je dobro ohranjen, kovinske aplikacije so popolne.


65

MODEL / Vitanje / les / š – 21 cm, d – 26 cm, v – 3,3 cm / št. dia. 4315 / inv. št. 9546.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, iz katere je izrezljan stiliziran rastlinski vzorec. Motiv, ki je somerno razvrščen na osnovni plošči, sestavlja osrednje volutasto polje, okrog katerega se na vsako stran razprostirajo zaviti vzorci in v dveh vrstah pahljačasto razporejeni stilizirani listi. Na skrajnih poljih modela sta stilizirana rastlinska oziroma cvetna vzorca. Model ima dva medeninasta nastavitvena žebljiča. Les je slabo ohranjen in črviv, vzorec je poškodovan.


66

MODEL / Vitanje / trd les in medenina / š – 20 cm, d – 23 cm, v – 5,5 cm / št. dia. 4316 / inv. št. 9547.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči različnih oblik in ploščice, ki tvorijo rastlinski vzorec. Motivi prepletajočih se vitic z drobnimi cvetovi in motivi vejice z lističi se na osnovni ploskvi modela ponavljajo v vzporednih zamaknjenih vrstah. Na treh vogalih modela in na robu stranske ploskve so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi sta vdolbeni oprijemali, na čelni ploskvi je s šablono in z belo barvo napisana št. 113. Les je dobro ohranjen, kovinske aplikacije so popolne. Model je motivno enak kot pod št. 12. Enak vzorec je odtisnjen na tkaninah kat. št. 154, 163, 164.


67

MODEL / Vitanje / trd les, medenina in železo / š – 15,5 cm, d – 18 cm, v – 4,5 cm / št. dia. 4317 / inv. št. 9548.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti žebljiči in ploščice, ki tvorijo stiliziran rastlinski vzorec. Motiv sestavljajo trije železni žebljiči, ki so zabiti v obliki trikotnika, in medeninasta ploščica. Vzorec je razporejen v vzporednih zamaknjenih vrstah. Na enem vogalu modela je zabit medeninast nastavitveni žebljič, manjkata dva žebljiča. V reverzno ploskev modela sta vdolbeni oprijemali, na eni čelni ploskvi modela je prostoročno in z belo barvo napisana št. 53, na drugi čelni ploskvi pa s šablono in z belo barvo št. 49. Les je poškodovan, črviv, kovinske aplikacije so nepopolne.


68

MODEL / Vitanje / trd, mehek les in medenina / š – 16,5 cm, d – 17,5 cm, v – 3,8 cm / št. dia. 4318 / inv. št. 9549.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabite medeninaste ploščice, ki tvorijo geometrijski vzorec. Motiv sestavljajo dve vzporedni krajši ploščici in med njima ena daljša ploščica. Vzorec je razporejen v vzporednih zamaknjenih vrstah in je izmenoma v vsaki vrsti obrnjen v drugo smer. Na reverzno stran osnovne deske je pritrjena smrekova deska. Po vsej verjetnosti je bila na to desko pritrjena še ena deska z vdolbenima oprijemaloma. Les je slabo ohranjen, četrtina modela manjka, kovinske aplikacije, kolikor jih je ostalo, so popolne in nepoškodovane.


69

MODEL / Vitanje / trd les in medenina / š – 2,8 cm, d – 25,3 cm, v – 2,8 cm / št. dia. 4319 / inv. št. 9550.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz lesenega kvadra, iz katerega je izrezljan droben stiliziran cvetlični vzorec, ki ga dopolnjujejo medeninasti žebljiči in ploščice, zabiti v obliki vitic in lističev. Model je namenjen tiskanju bordur. Leseni deli vzorca so obrabljeni in zato nižji od kovinskih aplikacij. Les je črviv, počen, kovinske aplikacije in izrezljan ornament so slabo ohranjeni in nepopolni.


70

MODEL / Vitanje / trd, mehek les in medenina / š – 19 cm, d – 18 cm, v – 5,2 cm / št. dia. 4320 / inv. št. 9551.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči, ploščice in trakovi, ki sestavljajo bogat cvetlični vzorec. Kovinske aplikacije sestavljajo drobne stilizirane cvetove s stebli, z lističi in z viticami ter večje zvončaste cvetove. Kompozicijsko sta upodobljena dva enaka rastlinska aranžmaja, ki tečeta vzporedno po celi dolžini osnovne ploskve. Na štirih vogalih modela so zabiti medeninasti nastavitveni žebljiči. Na reverzno stran osnovne deske je pričvrščena smrekova deska z vdolbenima oprijemaloma, na eno čelno ploskev je prostoročno z rdečo barvo napisana št. 147, na drugo čelno ploskev pa prostoročno z belo barvo št. 118, nad njo s šablono in z belo barvo št. 103, poleg teh dveh številk pa prostoročno z belo barvo še št. 125. Les je dobro ohranjen, kovinske aplikacije so popolne.


71

MODEL / Vitanje / trd les in medenina / š – 21,5 cm, d – 22,5 cm, v – 5,4 cm / št. dia. 4321 / inv. št. 9552.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči in trakovi, ki tvorijo razvejan rastlinski vzorec. Valujoče medeninaste ploščice predstavljajo motiv rastlinske vejice. Te so razporejene po modelu v enakih intervalih. Cvetovi, ki jih tvorijo ploščice in žebljiči, so razporejeni v vzporednih zamaknjenih vrstah. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi sta vdolbeni oprijemali, na eni čelni ploskvi modela je prostoročno z belo barvo napisana št. 136, na drugi čelni ploskvi pa prostoročno z belo barvo št. 168 in nad njo s šablono in z belo barvo št. 252. Les je črviv, kovinske aplikacije so nepoškodovane.


72

MODEL / Vitanje / trd les in medenina / š – 18 cm, d – 20,5 cm, v – 4 cm / št. dia. 4322 / inv. št. 9553.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči in ploščice, ki sestavljajo stiliziran cvetni vzorec. Motiv tvorijo v obliki križa zabite ploščice, ki so med kraki zapolnjene z okroglimi drobnimi žebljiči. Vzorec je razporejen v vzporednih zamaknjenih vrstah. Na osnovni deski je viden neizveden vzorec vzporednih valovnic. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi sta vdolbeni oprijemali, na čelni ploskvi pa je prostoročno z belo barvo napisana št. 261, nad njo pa s šablono in z belo barvo št. 65. Les je črviv, kovinske aplikacije so skorajda nepoškodovane.


73

MODEL / Vitanje / trd les in medenina / š – 18 cm, d – 20 cm, v – 5,6 cm / št. dia. 4323 / inv. št. 9554.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči kapljaste oblike, ploščice in trakovi, ki sestavljajo rastlinski vzorec. Kovinske aplikacije tvorijo motiv stiliziranega rastlinja z listnatimi vejicami in drobnimi zvončastimi cvetovi. Cvetovi imajo leseno polnilo. Vzorec je po osnovni ploskvi razporejen v štirih vzporednih zamaknjenih vrstah. Na dveh vogalih modela sta zabita medeninasta žebljiča, na enem vogalu manjka žebljič. V obe stranski ploskvi sta vdolbeni oprijemali. Les je dobro ohranjen, deloma počen, kovinske aplikacije so popolne.


74

MODEL / Vitanje / trd les in medenina / š – 18,5 cm, d – 20,3 cm, v – 2 cm / št. dia. 4324 / inv. št. 9555.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči in trakovi, ki sestavljajo cvetlični vzorec. Cvetni motiv, ki ga sestavljajo steblo s tremi listi in cvet, je narejen iz okroglih in zrnastih žebljičev, po modelu pa je razporejen v vzporednih zamaknjenih vrstah. Na dveh vogalih modela sta zabita medeninasta nastavitvena žebljiča, na enem vogalu manjka žebljič. Na reverzno stran je bila pritrjena še ena deska, ki pa manjka. Les je malo črviv, deska je deloma počena, kovinske aplikacije so dobro ohranjene.


75

MODEL / Vitanje / les in medenina / š – 19 cm, d – 20 cm, v – 4 cm / št. dia. 4325 / inv. št. 9556.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabite medeninaste ploščice in trakovi, ki tvorijo rastlinski vzorec. Kovinske aplikacije sestavljajo motiv igličaste vejice. Vzorec je po modelu razporejen v vzporednih zamaknjenih vrstah. Na štirih vogalih modela so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi modela sta vdolbeni oprijemali, na eni čelni ploskvi je prostoročno z belo barvo napisana št. 249, na drugi čelni ploskvi pa s šablono in z belo barvo št. 177. Les je črviv, kovinske aplikacije so popolne.


76

MODEL / Vitanje / trd les in medenina / š – 17,5 cm, d – 20,5 cm, v – 4 cm / št. dia. 4326 / inv. št. 9557.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti polkrožni medeninasti žebljiči, ki tvorijo geometrijski vzorec. Motiv sestavljata dva polkrožna žebljička, ki tvorita na polovico razdeljen krog. Vzorec je na deski razporejen v vzporedne zamaknjene vrste. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi sta vdolbeni oprijemali, na čelni ploskvi je prostoročno z belo barvo napisana št. 203, nad njo pa s šablono in z belo barvo št. 100. Les je črviv, kovinske aplikacije so popolne.


77

MODEL / Vitanje / trd les in medenina / š – 16,5 cm, d – 20,5 cm, v – 5 cm / št. dia. 4327 / inv. št. 9558.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči, ki tvorijo geometrijski vzorec. Motiv sestavlja pet v vrsto zabitih različno debelih žebljičev. Vzorec je na deski razporejen v dvanajstih vzporednih zamaknjenih vrstah. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi modela sta vdolbeni oprijemali, na čelni ploskvi je s šablono in z belo barvo napisana št. 221. Les je dobro ohranjen, kovinske aplikacije so nepoškodovane.


78

MODEL / Vitanje / trd, mehek les in medenina / š – 18 cm, d – 25,5 cm, v – 5,3 cm / št. dia. 4328 / inv. št. 9559.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči, ki tvorijo stiliziran cvetlični vzorec. Motiv sestavlja večji žebljič zrnaste oblike, okrog katerega so zabiti manjši žebljiči okrogle in kapljaste oblike. Ta vzorec je na deski razporejen v desetih vzporednih zamaknjenih vrstah. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. Na reverzno stran osnovne deske je z vijaki pritrjena smrekova deska, v obe njeni stranski ploskvi sta vdolbeni oprijemali. Na čelni ploskvi modela je prostoročno z belo barvo napisana št. 5. Les je črviv, na enem vogalu poškodovan, nekaj žebljičev manjka.


79

MODEL, dvodelni / Vitanje /

a – trd les in medenina / š – 6 cm, d – 24,3 cm, v – 4,7 cm / št. dia. 4329 / inv. št. 9560.

b – trd les in medenina / š – 5,7 cm, d – 24 cm, v – 4,6 cm / št. dia. 4330 / inv. št. 9588.

Za predmet velja enaka pridobitev kot pri kat. št. 34.

a – V trd lesen kvader so zabiti medeninasti žebljiči, ki tvorijo geometrijski vzorec. Kompozicijo sestavljajo med seboj prepletajoča se manjša in večja romboidna polja, ki so zamejena s točkastimi linijami, ki jih tvorijo drobni okrogli žebljiči. Na sečiščih linij so aplicirani debelejši okrogli žebljiči. Motivno je kompozicija sestavljena iz dveh identičnih geometrijskih vzorcev. Na vseh štirih vogalih so zabiti medeninasti nastavitveni žebljiči, v obe stranski ploskvi pa sta vdolbeni plitki oprijemali. Les je dobro ohranjen, malo črviv, kovinske aplikacije so popolne in le deloma poškodovane.

b – Drugi del modela je prav tako iz lesenega kvadra, v katerega so zabiti medeninasti žebljiči, ki tvorijo geometrijski vzorec. Motivno tvorijo enako debeli žebljiči različne geometrijske like in dopolnjujejo vsa prazna polja prejšnjega dela modela. Zato je kompozicijsko drugi del modela dopolnilo prvega dela modela. V stranski ploskvi sta vdolbeni plitki oprijemali, na dveh vogalih sta zabita medeninasta nastavitvena žebljiča, žebljiča v drugih dveh vogalih manjkata. Celoten kvader je ukrivljen, les črviv, na reverzni strani do polovice uničen, kovinske aplikacije so nepopolne in poškodovane.

Vsak del modela je bil inventariziran kot samostojen predmet. Model je namenjen dvobarvnemu tiskanju bordur; vzorci obeh delov se medsebojno dopolnjujejo in prekrivajo.


80

MODEL / Vitanje / trd, mehek les in medenina / š – 19,5 cm, d – 21,5 cm, v – 6,5 cm / št. dia. 4331 / inv. št. 9561.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči, ki tvorijo geometrijski vzorec. Motiv sestavljajo trije žebljiči zrnaste oblike in dva okrogla žebljiča, tako da tvorijo romboidni vzorec. Ta je razporejen v dvanajstih vzporednih zamaknjenih vrstah. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. Na reverzno stran osnovne deske je pribita smrekova deska z izžaganima oprijemaloma. Na eni stranski ploskvi modela je prostoročno z belo barvo napisana št. 161, na drugi stranski ploskvi pa s šablono in z belo barvo št. 159. Les je črviv, kovinske aplikacije so popolne.


81

MODEL / Vitanje / trd les in medenina / š – 18 cm, d – 19,5 cm, v – 5 cm / št. dia. 4332 / inv. št. 9562.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči, ploščice in trakovi, ki sestavljajo stiliziran cvetlični vzorec. V kvadratnih poljih, ki jih tvorijo žebljiči, sta izmenoma v vzporednih vrstah upodobljena dva cvetlična motiva. Sestavljena sta iz ploščic, debelejših in tanjših okroglih žebljičev in žebljičev kapljaste ter zrnaste oblike. V obe stranski ploskvi modela sta vdolbeni oprijemali, na eni čelni ploskvi je prostoročno in z belo barvo napisana št. 180, na drugi čelni ploskvi pa prostoročno in z belo barvo št. 154, nad njo pa prostoročno in z rdečo barvo št. 180. Les je črviv, kovinske aplikacije so popolne.


82

MODEL / Vitanje / trd les in medenina / š – 18 cm, d – 21,5 cm, v – 4,7 cm / št. dia. 4333 / inv. št. 9563.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči, ki sestavljajo geometrijski vzorec. Osnovni kvadratni vzorec je sestavljen iz manjših kvadratov (ti tvorijo vogale) in črtic, ki predstavljajo vezne stranice. Sredi tega vzorca je žebljič zvezdaste oblike. Na treh vogalih modela in na enem robu so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi modela sta vdolbeni oprijemali, na eni čelni ploskvi pa je s šablono in z belo barvo napisana št. 160. Les je dobro ohranjen, kakor tudi kovinske aplikacije.


83

MODEL / Vitanje / trd les in medenina / š – 17 cm, d – 20 cm, v – 4,7 cm / št. dia. 4334 / inv. št. 9564.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti obročki, zapolnjeni z lesom, ki tvorijo točkast vzorec. Kovinske aplikacije so razporejene v dvanajstih vzporednih zamaknjenih vrstah. Na dveh vogalih modela sta zabita medeninasta nastavitvena žebljiča, v enem vogalu manjka žebljič. V obe stranski ploskvi modela sta vdolbeni oprijemali, na eni čelni ploskvi je prostoročno z belo barvo napisana št. 15 in nad njo s šablono in z belo barvo št. 162, na drugi čelni ploskvi pa prostoročno z belo barvo št. 15 in št. 131. Les je črviv, deska deloma počena, kovinske aplikacije so nepoškodovane.


84

MODEL / Vitanje / trd les in medenina / š – 17 cm, d – 18,5 cm, v – 5,8 cm / št. dia. 4335 / inv. št. 9565.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči in ploščice, ki tvorijo rastlinsko-geometrijski vzorec. Motiv sestavlja žebljič v obliki rastlinskega lista s pecljem, okrog katerega so gosto v kolobarju zabiti drobni žebljiči. Motiv je razporejen v vzporednih zamaknjenih vrstah. Polja med posameznimi motivi so zapolnjena z drobnimi okroglimi žebljiči. V treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi modela sta vdolbeni oprijemali, na čelni ploskvi je prostoročno z belo barvo napisana št. 239, nad njo pa s šablono nečitljiva številka. Les je dobro ohranjen, prav tako tudi kovinske aplikacije.


85

MODEL / Vitanje / trd, mehek les in medenina / š – 17,5 cm, d – 26 cm, v – 5,4 cm / št. dia. 4336 / inv. št. 9566.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči, ki tvorijo geometrijski vzorec. Motiv, ki ga sestavljata dva kapljasta žebljiča, s širšo stranjo postavljena drug proti drugemu, je razporejen v vzporednih zamaknjenih vrstah. Na osnovni ploskvi je jasno vidna sled kvadratne mreže, ki je služila kot pomoč pri zabijanju žebljičev. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. Na reverzno stran osnovne deske sta pritrjeni dve smrekovi deski, spodnja ima vdolbeni oprijemali. Na čelni ploskvi modela je prostoročno z belo barvo napisana št. II (morda 11). Les je dobro ohranjen, žebljiči so ohranjeni.

Model je motivno enak kot model pod kat. št. 116.


86

MODEL / Vitanje / trd, mehek les in medenina / š – 20 cm, d – 20 cm, v – 6 cm / št. dia. 4337 / inv. št. 9567.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči in ploščice, ki tvorijo rastlinski vzorec. Motiv tvorijo stilizirani večji in manjši cvetovi in lističi. Vzorec ni popolnoma izveden po predlogi, manjkajo medeninasti trakovi (rastlinska stebla), ki naj bi vzorce medsebojno povezovali. Vzorec je razporejen v vzporednih zamaknjenih vrstah. Model ima v vogalu medeninast nastavitveni žebljič, žebljiča v drugih dveh vogalih manjkata. Na reverzno stran osnovne deske je pritrjena smrekova deska z izžaganima oprijemaloma. Na eni čelni ploskvi modela je prostoročno z belo barvo napisana št. 130, na drugi čelno ploskvi pa prav tako prostoročno z belo barvo št. 156. Les je dobro ohranjen, kovinske aplikacije so povečini nepoškodovane.


87

MODEL / Vitanje / trd les in medenina / š – 19 cm, d – 20,5 cm, v – 4,6 cm / št. dia. 4338 / inv. št. 9568.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči in ploščice, ki tvorijo rastlinsko-geometrijski vorec. Kompozicijsko sta na pravokotnih poljih v osmih vrstah izmenoma upodobljena motiv stilizirane vejice z listi in radialni točkast vzorec. Na dveh vogalih modela sta zabita medeninasta nastavitvena žebljiča, v enem vogalu manjka žebljič. V obe stranski ploskvi sta vdolbeni oprijemali, na eni čelni ploskvi modela je prostoročno z belo barvo napisana št. 124, nad njo pa s šablono in z belo barvo št. 236, na drugi čelni ploskvi je prostoročno z rdečo barvo napisana slabo vidna št. 148. Les je dobro ohranjen, prav tako kovinske aplikacije.


88

MODEL / Vitanje / trd les in medenina / š – 19 cm, d – 21 cm, v – 5,3 cm / št. dia. 4339 / inv. št. 9569.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči, ki tvorijo rastlinski vzorec. Motiv sestavljata stiliziran cvet iz radialno zabitih žebljičev zrnaste oblike in kolobar, zapolnjen z vzorci iz okroglih žebljičev. Motiv na modelu je razvrščen v štiri vzporedne vrste; na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi sta vdolbeni oprijemali, na čelni ploskvi je prostoročno z belo barvo napisana št. 157. Les je črviv, kovinske aplikacije so nepopolne.


89

MODEL / Vitanje / trd les in medenina / š – 18,5 cm, d – 22 cm, v – 5,4 cm / št. dia. 4340 / inv. št. 9570.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti trakovi, ki tvorijo geometrijski vzorec. Motiv sestavljajo štirje valujoči in medsebojno prepleteni medeninasti trakovi. Na osnovni ploskvi je vzorec razporejen v osem vzporednih zamaknjenih vrst. Na dveh vogalih modela sta zabita medeninasta nastavitvena žebljiča, v enem vogalu manjka žebljič. V obe stranski ploskvi modela sta vdolbeni oprijemali, na eni čelni ploskvi je prostoročno z belo barvo nerazločno napisana št. 129, nad njo s šablono in z belo barvo št. 161, na drugi čelni ploskvi pa je prostoročno z belo barvo napisna št. III (ali morda 111). Les je črviv, kovinske aplikacije so ohranjene.


90

MODEL / Vitanje / les in medenina / š – 3,8 cm, d – 20 cm, v – 4,2 cm / št. dia. 4341 / inv. št. 9571.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz lesenega kvadra, v katerega so zabiti medeninasti žebljiči in ploščice, ki tvorijo drobne cvetove z lističi. Ti so razvrščeni v dve vzporedni in zamaknjeni vrsti. V praznih poljih med cvetnimi vzorci so aplicirane vrste luničastih žebljičev. Vrsta zrnastih žebljičev zamejuje vzorec na zgornji in spodnji strani. Model je namenjen tiskanju bordur. Na dveh vogalih modela sta zabita medeninasta nastavitvena žebljiča. V obe stranski ploskvi sta vdolbeni plitki oprijemali, na čelni ploskvi modela je prostoročno z belo barvo napisana št. 7. Les je črviv, model je rahlo uvit, kovinske aplikacije so povečini nepoškodovane.


91

MODEL / Vitanje / trd les in medenina / š – 17,5 cm, d – 21,5 cm, v – 5,5 cm / št. dia. 4342 / inv. št. 9572.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči in ploščice. Motiv sestavljata dva žebljiča zrnaste oblike, med katerima je zabita v obliki črke s uvita medeninasta ploščica. Vzorec je razporejen v vzporednih zamaknjenih vrstah. Na dveh vogalih modela sta zabita medeninasta nastavitvena žebljiča; v enem vogalu manjka žebljič. V obe stranski ploskvi sta vdolbeni oprijemali, na čelni ploskvi modela je s šablono in z belo barvo napisana št. 94. Les je črviv, kovinske aplikacije so ohranjene.


92

MODEL / Vitanje / trd les in medenina / š – 19,5 cm, d – 21,5 cm, v – 5,3 cm / št. dia. 4343 / inv. št. 9573.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči in ploščice, ki tvorijo rastlinski in geometrijski vzorec. Upodobljena sta dva motiva – motiv vejice s stiliziranim cvetom in z listom, ki ga tvorijo zrnasto oblikovani žebljiči in ploščica, ter motiv petih med seboj povezanih lokov, ki jih tvorijo drobni okrogli žebljiči. Motiva sta razvrščena v vzporednih zamaknjenih vrstah, v vsaki vrsti pa si vzorca sledita izmenoma drug za drugim. Na dveh vogalih modela sta zabita medeninasta nastavitvena žebljiča; v enem vogalu manjka žebljič. V obe stranski ploskvi sta vdolbeni oprijemali, na eni čelni ploskvi je prostoročno z belo barvo napisana št. 46, na drugi čelni ploskvi pa s šablono in z belo barvo št. 62. Les je malo črviv, kovinske aplikacije so ohranjene.


93

MODEL / Vitanje / trd les in medenina / š – 18 cm, d – 22,5 cm, v – 5,6 cm / št. dia. 4344 / inv. št. 9574.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči in ploščice, ki tvorijo rastlinski vzorec. Motiv vejice z lističi je na deski razporejen v vzporednih zamaknjenih vrstah. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi sta vdolbeni oprijemali, na eni čelni ploskvi je prostoročno z belo barvo napisana št. 347, na drugi čelni ploskvi pa s šablono in z belo barvo št. 11. Les je črviv, kovinske aplikacije so ohranjene.


94

MODEL / Vitanje / trd les in medenina / š – 20 cm, d – 21,5 cm, v – 3,2 cm / št. dia. 4345 / inv. št. 9575.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči in trakovi, ki tvorijo rastlinski vzorec. Osnovni motiv sestavljata vejici z listi in polžast vzorec, zapolnjen z drobnimi stiliziranimi cvetovi. Motiv je razvrščen v vzporedne zamaknjene vrste. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. Na reverzno stran osnovne deske je bila prilepljena še ena deska, ki pa manjka. Les je malo črviv, del deske je počen, kovinske aplikacije pa so ohranjene.


95

MODEL / Vitanje / trd les, medenina in železo / š – 18,5 cm, d – 20,8 cm, v – 4,8 cm / št. dia. 4346 / inv. št. 9576.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti različno debeli medeninasti in železni žebljiči, ki tvorijo gost točkast vzorec. Motivno sestavljajo žeblji široko valovnico, ki je v sredini iz debelejših železnih žebljičev, proti robovoma pa iz tanjših medeninastih. Valovnica se ponovi v treh vzporednih, enako valujočih vrstah. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi sta vdolbeni oprijemali, na eni čelni ploskvi je prostoročno z belo barvo napisana št. 144, na drugi čelni ploskvi pa je s šablono in z belo barvo napisana št. 246. Les je ohranjen, malo črviv, nekateri žebljiči so upognjeni.


96

MODEL / Vitanje / trd les in medenina / š – 18,3 cm, d – 23 cm, v – 5 cm / št. dia. 4347 / inv. št. 9577.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči in ploščice, naknadno pa so v desko dodani še leseni vložki z izrezljano listnato vejico. Vzorec je po dolžini modela razporejen v osem vrst, in sicer tako, da vrsti drobnega cvetličnega vzorca izmenoma sledi vrsta listnatega vzorca. Na štiri vogale modela so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi sta vdolbeni oprijemali. Na eni čelni ploskvi modela je prostoročno z belo barvo napisana št. 146, zraven nje pa še 139 p; na drugi čelni ploskvi je s šablono in z belo barvo napisana št. 225. Les je malo črviv, kovinske aplikacije so nepoškodovane; manjka ena izrezljana aplika.


97

MODEL / Vitanje / trd les in medenina / š – 17,8 cm, d – 20,5 cm, v – 3,7 cm / št. dia. 4348 / inv. št. 9578.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči, trakovi in obročki. Motiv dveh vejic z lističi tvorijo zrnasti žebljiči, ploščice in obroček z lesenim polnilom. Vzorec je na osnovni ploskvi modela razporejen v vzporedne zamaknjene vrste. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. Manjka deska, ki je bila pritrjena na reverzno stran osnovne deske. Les je precej črviv, en vogal modela manjka.


98

MODEL / Vitanje / les in medenina / š – 18 cm, d – 23,8 cm, v – 5 cm / št. dia. 4349 / inv. št. 9579.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti okrogli žebljiči, ploščice in lesene romboidne aplike. Geometrijski vzorec je razporejen v vzporednih vrstah. Model je bil verjetno predelan (morda so bile lesene aplikacije vzorcu dodane kasneje), saj so na ploskvi jasno vidni sledovi obdelave lesenih delov. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. V reverzno stran deske sta vdolbeni oprijemali, na eni čelni ploskvi je prostoročno z belo barvo napisana št. 168, na drugi čelni ploskvi pa s šablono in z belo barvo št. 256. Les je črviv, kovinski žebljiči in ploščice so deloma ukrivljeni.


99

MODEL / Vitanje / trd, mehek les in medenina / š – 19,3 cm, d – 21,4 cm, v – 6 cm / št. dia. 4350 / inv. št. 9580.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti trakovi in kvadratne cevke, ki tvorijo geometrijski vzorec. Meandrasto zavit trak, med katerim so v parih zabite kvadratne cevke z lesenim polnilom, tvori motiv kvadratnega vzorca. Na treh vogalih modela in na eni stranski ploskvi so zabiti medeninasti nastavitveni žebljiči. Na reverzno stran osnovne deske je pribita smrekova deska z izžaganima oprijemaloma. Na eni čelni ploskvi je prostoročno in z belo barvo napisana št. 162, na drugi čelni ploskvi pa s šablono in z belo barvo št. 224. Les je črviv, kovinske deli niso poškodovani.


100

MODEL / Vitanje / trd les in medenina / š – 17,7 cm, d – 19,5 cm, v – 4 cm / št. dia. 4351 / inv. št. 9581.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabite medeninaste ploščice. Motiv sestavljajo tri v obliki črke s uvite ploščice, zabite vzporedno druga ob drugi. Vzorec je razvrščen v vzporedne in medsebojno zamaknjene vrste. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči, žebljič v četrtem vogalu je odlomljen. V obe stranski ploskvi sta vdolbeni oprijemali, na eni čelni ploskvi modela je s šablono in z belo barvo napisana št. 158, na drugi čelni ploskvi pa številka ni razločno vidna. Les je črviv, kovinske ploščice so večinoma nepoškodovane, manjka nekaj vzorcev.


101

MODEL / Vitanje / trd les in medenina / š – 16,5 cm, d – 17,8 cm, v – 5 cm / št. dia. 4352 / inv. št. 9582.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabite medeninaste ploščice, trakovi in obročki, ki sestavljajo geometrijski vzorec. Motiv tvorijo meandrasto zaviti kovinski trakovi. Med vrste so vstavljeni v osmico oblikovani trakovi, ploščice in obročki, obdani z lesenim polnilom. Vzorec na osnovni ploskvi ni popolnoma izveden s kovinskimi aplikacijami. Na dveh vogalih modela sta zabita medeninasta nastavitvena žebljiča, v enem vogalu manjka žebljič. V obe stranski ploskvi sta vdolbeni oprijemali, na čelni ploskvi modela je prostoročno z belo barvo napisana št. 256, nad njo pa s šablono in z belo barvo št. 66. Les je dobro ohranjen, kovinski deli modela so nepoškodovani.


102

MODEL / Vitanje / trd les in medenina / š – 20,5 cm, d – 20,5 cm, v – 4,5 cm / št. dia. 4353 / inv. št. 9583.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti trakovi, ki tvorijo križni vzorec. Ta je na osnovni ploskvi razporejen v vzporednih zamaknjenih vrstah. Na štiri vogale modela so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi sta vdolbeni oprijemali, na eni čelni ploskvi je prostoročno z belo barvo napisana št. 5, na drugi čelni ploskvi prostoročno z belo barvo št. 5, nad njo s šablono in z belo barvo št. 181. Les je črviv, kovinske aplikacije so dobro ohranjene, manjka le ena ploščica.

Enak vzorec je natisnjen na tkanini kat. št. 152.


103

MODEL / Vitanje / trd les in medenina / š – 17,5 cm, d – 20 cm, v – 6 cm / št. dia. 4354 / inv. št. 9584.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči in obročki elipsaste oblike, zapolnjeni z lesenim polnilom. Vzorec na osnovni ploskvi je razporejen v vzporednih in zamaknjenih vrstah. Na štiri vogale modela so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi sta vdolbeni oprijemali, na čelni ploskvi modela je prostoročno z belo barvo napisana št. 243, nad njo pa s šablono in z belo barvo št. 136. Les je črviv, nekaj kovinskih aplikacij je odlomljenih, v osnovni deski je viden na novo vstavljeni leseni vložek.


104

MODEL / Vitanje / trd les in železo / š – 16,5 cm, d – 22 cm, v – 4,8 cm / št. dia. 4355 / inv. št. 9585.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti debelejši železni žebljiči, ki sestavljajo točkast vzorec. Žebljiči so razvrščeni v vzporednih zamaknjenih vrstah. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi sta vdolbeni oprijemali, na eni čelni ploskvi modela je prostoročno z belo barvo napisana št. 171, na drugi čelni ploskvi pa s šablono in z belo barvo št. 213. Les je malo črviv, deloma razpokan, kovinske aplikacije so popolne.


105

MODEL / Vitanje / trd les in medenina / š – 15 cm, d – 19,7 cm, v – 5,2 cm / št. dia. 4356 / inv. št. 9586.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so v podobi stiliziranega cveta zabiti medeninasti žebljiči okrogle in zrnaste oblike. Vzorec na osnovni ploskvi je razporejen v vzporednih zamaknjenih vrstah. Vidna je vrezana kvadratna mreža, ki je služila kot pomoč pri zabijanju žebljičev. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči, na enem vogalu manjka žebljič. V obe stranski ploskvi sta vdolbeni oprijemali, na eni čelni ploskvi modela je prostoročno z belo barvo napisana št. 16, na drugi čelni ploskvi pa s šablono in z belo barvo št. 202. Les je malo črviv, kovinske aplikacije so ohranjene.


106

MODEL / Vitanje / trd, mehek les in medenina / š – 18 cm, d – 21,2 cm, v – 6,6 cm / št. dia. 4357 / inv. št. 9587.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči, ploščice in trakovi, ki sestavljajo v štirih vzporednih vrstah okrog valovnic nanizane stilizirane sadeže in zvončaste cvetove. V sredini polj med temi vzorci so zabiti žebljiči v romboidni obliki. Na reverzno stran osnovne deske je pritrjena smrekova deska z izžaganima oprijemaloma, na čelni ploskvi modela je s šablono in z belo barvo napisana št. 128. Les je črviv, kovinske aplikacije so dobro ohranjene, manjkajo nastavitveni žebljiči.


107

MODEL / Vitanje / trd les in medenina / š – 17 cm, d – 20 cm, v – 5,6 cm / št. dia. 4358 / inv. št. 9589.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči, ploščice in trakovi. Osnovni motiv na modelu je kvadratni lik, katerega stranice so iz trakov, obdanih z žebljiči. Vogale kvadrata zapolnjuje cvetlični vzorec. V kvadratnih poljih je viden vzorec, ki pa ni zapolnjen z aplikacijami. V treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi sta vdolbeni oprijemali, na eni čelni ploskvi modela je prostoročno in z belo barvo napisana št. 266, na drugi čelni ploskvi pa s šablono in z belo barvo št. 168. Les je dobro ohranjen, prav tako kovinske aplikacije.


108

MODEL / Vitanje / trd, mehek les in medenina / š – 19 cm, d – 21,7 cm, v – 5,2 cm / št. dia. 4359 / inv. št. 9590.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabite medeninaste ravne ploščice in trikotni žebljiči. Aplikacije tvorijo geometrijski vzorec, ki je na osnovni ploskvi modela razporejen v vzporednih zamaknjenih vrstah. Na modelu je vidna romboidna mreža, ki je služila kot pomoč pri zabijanju aplikacij. Na štiri vogale modela so zabiti medeninasti nastavitveni žebljiči. Na reverzno stran osnovne deske je pritrjena smrekova deska, v obe njeni stranski ploskvi sta vdolbeni oprijemali. Na eni čelni ploskvi je prostoročno z belo barvo napisana št. 118, na drugi čelni ploskvi pa prostoročno z rdečo barvo št. 133. Les je malo črviv, kovinske aplikacije so dobro ohranjene.


109

MODEL / Vitanje / trd les in medenina / š – 22 cm, d – 20 cm, v – 4 cm / št. dia. 4360 / inv. št. 9591.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti trakovi in ploščice, ki tvorijo cikcakast vzorec. Ta se v meandrasti liniji na osnovni ploskvi modela ponovi v dveh vzporednih identičnih podobah. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi sta vdolbeni oprijemali; na eni čelni ploskvi ima prostoročno z belo barvo napisano št. 240, na drugi čelni ploskvi pa s šablono in z belo barvo št. 154. Les je črviv, kovinski deli so nepoškodovani.


110

MODEL / Vitanje / trd les in medenina / š – 18 cm, d – 19,3 cm, v – 5,3 cm / št. dia. 4361 / inv. št. 9592.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči in ploščice. Motiv sestavljata po dve vzporedno zabiti pravokotni ploščici, okrog katerih so koncentrično zabiti drobni okrogli žebljiči. Pari ploščic so razporejeni v vzporedne zamaknjene vrste in so v vsaki vrsti izmenoma obrnjene v drugo smer. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi sta vdolbeni oprijemali; na eni stranski ploskvi je prostoročno z belo barvo napisana št. 218, na drugi stranski ploskvi pa s šablono in z belo barvo št. 143. Les je dobro ohranjen, kovinske aplikacije so nepoškodovane.


111

MODEL / Vitanje / trd, mehek les in medenina / š – 17 cm, d – 19 cm, v – 6,5 cm / št. dia. 4362 / inv. št. 9593.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči, ploščice in trakovi, ki tvorijo rastlinski vzorec. Kovinske aplikacije tvorijo motiv vejic z lističi, ki jih medsebojno povezujejo točkasti vzorci. Na štiri vogale modela so zabiti medeninasti nastavitveni žebljiči. Na reverzno stran osnovne deske je pribita smrekova deska z izžaganima oprijemaloma. Na eni čelni ploskvi je prostoročno z belo barvo napisana št. 323 (?), na drugi čelni ploskvi pa s šablono in z belo barvo št. 18. Les je črviv, deloma trhel, kovinske aplikacije so skoraj v celoti ohranjene.


112

MODEL / Vitanje / trd les in medenina / š – 18 cm, d – 20 cm, v – 4,8 cm / št. dia. 4363 / inv. št. 9594.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabite medeninaste ploščice zrnaste oblike, ki so razporejene v križajočih se diagonalno razporejenih vrstah. Ploščice motivno sestavljajo romboidni vzorec. Na štiri vogale modela so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi sta vdolbeni oprijemali, na čelni ploskvi modela je prostoročno z belo barvo napisana št. 30. Les je dobro ohranjen, malo črviv, medeninaste ploščice ponekod manjkajo.


113

MODEL / Vitanje / trd les in medenina / š – 10,5 cm, d – 28 cm, v – 6 cm / št. dia. 4364 / inv. št. 9595.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz lesenega kvadra, v katerega so zabiti medeninasti žebljiči, ploščice in trakovi. Te tvorijo po dolžini modela ob robovih dvoje vrst križnih in točkastih vzorcev, medtem ko je osnovna ploskev med njima zapolnjena z na videz nepopolnim vzorcem. Model je namenjen tiskanju bordur, na štiri vogale so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi sta vdolbeni plitvi oprijemali, na čelni ploskvi je prostoročno napisana št. 17 p. Les je dobro ohranjen, kovinske aplikacije so deloma poškodovane. Po analogiji z drugimi dvodelnimi modeli ta model navaja na misel, da je le del dvo- ali večdelnega modela za tiskanje blaga. Na videz nepopolni vzorec na sredini modela je morda dopolnjeval vzorec na drugem delu modela.


114

MODEL / Vitanje / trd les in medenina / š – 6,5 cm, d – 19 cm, v – 5,5 cm / št. dia. 4365 / inv. št. 9596.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz lesenega kvadra, v katerega so zabiti medeninasti trakovi, ki tvorijo meandrast vzorec. Ta je na osnovni deski razporejen v dvanajstih vrstah. Vzorec je na ukrivljenih delih poudarjen z dvojnimi trakovi, med katere je vstavljeno leseno polnilo. Ob robove po dolžini modela sta zabita valovita medeninasta trakova. Stranski ploskvi modela sta grobo obdelani, vidni so sledovi žage, kar kaže na to, da je del večjega modela. Potrebe tiskarja so najbrž narekovale, da je model spremenil, tako da je bil primeren za tiskanje bordur. Na čelni ploskvi modela je prostoročno z belo barvo napisana št. 27 (?). Les je dobro ohranjen, kovinski trakovi so nepoškodovani, nastavitveni žebljiči manjkajo.


115

MODEL / Vitanje / trd les in medenina / š – 4,5 cm, d – 20 cm, v – 5 cm / št. dia. 4366 / inv. št. 9597.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz lesenega kvadra, v katerega so zabiti medeninasti žebljiči različnih oblik, ploščice in trakovi, ki tvorijo stilizirano listnato vejico, rozeto, točkasto polkrožno polje in stiliziran tulipanov (?) cvet. Ta vzorec se na modelu ponovi trikrat. Model je namenjen tiskanju bordur, na treh vogalih so zabiti medeninasti nastavitveni žebljiči. Na čelni ploskvi je prostoročno z belo barvo napisana št. 9. Les je malo črviv, deska je po celi dolžini počena, kovinske aplikacije so popolne.


116

MODEL / Vitanje / trd, mehek les in medenina / š – 16,5 cm, d – 25 cm, v – 5,1 cm / št. dia. 4367 / inv. št. 9598.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči, ki tvorijo geometrijski vzorec. Motiv, ki ga sestavljata dva kapljasta žebljiča, s širšo stranjo postavljena drug proti drugemu, je razporejen v vzporednih zamaknjenih vrstah. Na osnovni ploskvi je jasno vidna sled kvadratne mreže, ki je služila kot pomoč pri zabijanju žebljičev. Na reverzno stran osnovne deske sta pritrjeni dve smrekovi deski, v kateri sta vdolbeni oprijemali. Na čelni ploskvi modela je prostoročno z belo barvo napisana št. 12. Les je dobro ohranjen, žebljiči so popolni.

Model je motivno enak kot pod kat. št. 85.


117

MODEL / Vitanje / trd les in medenina / š – 17,5 cm, d – 19 cm, v – 5,5 cm / št. dia. 4368 / inv. št. 9599.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči okrogle in kapljaste oblike. Ti tvorijo več različnih stiliziranih cvetličnih vzorcev. Vzorci so na osnovni ploskvi modela razporejeni v vzporednih, zamaknjenih in tudi ciklično ponavljajočih se vrstah. Na treh vogalih modela in na robu osnovne ploske so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi sta vdolbeni oprijemali, na eni čelni ploskvi je prostoročno z belo barvo napisana št. 270, potem pa je številka prebarvana s črno barvo. Na drugi čelni ploskvi je s šablono in z belo barvo napisana št. 108. Les je dobro ohranjen, kovinske aplikacije so večinoma nepoškodovane.


118

MODEL / Vitanje / trd les in medenina / š – 19,5 cm, d – 21 cm, v – 5,3 cm / št. dia. 4369 / inv. št. 9600.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabite medeninaste ploščice, ki tvorijo dva raznovrstna geometrijska vzorca. Oba vzorca si v vzporednih vrstah izmenoma sledita drug za drugim, povezuje pa ju droben valovit točkast vzorec, narejen iz okroglih žebljičev. Na treh vogalih modela in na robu stranske ploskve so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi sta vdolbeni oprijemali, na eni čelni ploskvi ima prostoročno z belo barvo napisani št. 165 in 157 p, na drugi čelni ploskvi pa s šablono in z belo barvo št. 247. Les je črviv, žebljiči so nepopolni, geometrijska vzorca pa sta dobro ohranjena.


119

MODEL / Vitanje / trd les in medenina / š – 16,7 cm, d – 21 cm, v – 6,5 cm / št. dia. 4370 / inv. št. 9601.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči in ploščice, ki tvorijo geometrijski vzorec. Ploščice pravokotnih in trapeznih oblik ter žebljiči trikotnih oblik tvorijo en motiv, drug motiv sestavljajo ovalno zabiti drobni okrogli žebljiči. Vzorca sta na osnovni deski razporejena v vzporednih vrstah in se tudi v eni vrsti izmenoma ponavljata. Na enem vogalu modela je zabit medeninast nastavitveni žebljič, manjka en žebljič. V obe stranski ploskvi sta vdolbeni oprijemali, na čelni ploskvi je prostoročno z belo barvo napisana št. 40. Les je slabo ohranjen, razpokan in trhel, vendar učrvščen, večina kovinskih aplikacij je ohranjenih.


120

MODEL / Vitanje / trd les in medenina / š – 20,5 cm, d – 23 cm, v – 4,6 cm / št. dia. 4371 / inv. št. 9602.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči in ploščice, ki tvorijo križni vzorec. Ta je sestavljen iz okroglega žebljiča, ki ga obdajajo štirje žebljiči zrnaste oblike. Vzorec je razporejen v vzporedne in zamaknjene vrste. Na osnovni ploskvi je vidna kvadratna mreža, ki je služila kot pomagalo pri zabijanju žebljičev. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi sta vdolbeni oprijemali. Les je malo črviv, večina kovinskih aplikacij je ohranjenih.


121

MODEL / Vitanje / trd les in medenina / š – 12 cm, d – 22 cm, v – 3,5 cm / št. dia. 4372 / inv. št. 9603.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, iz katere so izrezljani drobni cvetovi, cvetni listi in listnate vejice. Te dopolnjujejo kovinske aplikacije vejic, vitičja in pestičev. Vzorec je po modelu razvrščen v vzporednih zamaknjenih vrstah. Na enem vogalu modela je zabit medeninast nastavitveni žebljič, manjkajo žebljiči na treh vogalih. Na reverzni strani osnovne deske manjka še ena deska. Les je črviv, krhek, na vogalih ga tudi nekaj manjka, leseni vzorec je ponekod poškodovan, kovinske aplikacije pa so ohranjene.


122

MODEL / Vitanje / trd les in medenina / š – 16,5 cm, d – 20 cm, v – 5 cm / št. dia. 4373 / inv. št. 9604.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti uviti medeninasti trakovi, ki jih obdajajo medeninasti žebljiči, tako da tvorijo igličasto vejico. Ta vzorec je na osnovni deski razvrščen v vzporedne zamaknjene vrste. Prvotno je bil v konkavno polje posameznega vzorca vstavljen leseni vložek, ki pa je bil kasneje odstranjen ali odlomljen. Na enem vogalu modela je zabit medeninasti nastavitveni žebljič. V obe stranski ploskvi sta vdolbeni oprijemali, na čelno ploskev modela je prostoročno z belo barvo napisana št. 151 in nad njo s šablono in z belo barvo št. 80. Les je črviv, deloma poškodovan, leseni vložki okrasja manjkajo, kovinske aplikacije so dobro ohranjene.


123

MODEL / Vitanje / trd les in medenina / š – 3,5 cm, d – 22,5 cm, v – 5 cm / št. dia. 4374 / inv. št. 9605.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz lesenega kvadra, v katerega so v obliki romboidnega in stiliziranega cvetličnega vzorca zabiti medeninasti žebljiči. Vzorca si v vrsti izmenično sledita po vsej dolžini modela. Ob robove osnovne ploskve sta zabiti dve vrsti zrnastih žebljičev. Model je namenjen tiskanju bordur, je brez oprijemal in številčnih oznak. Les je dobro ohranjen, malo črviv, kovinske aplikacije so poškodovane.


124

MODEL / Vitanje / trd les in medenina / š – 9 cm, d – 23 cm, v – 4,2 cm / št. dia. 4375 / inv. št. 9606.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz lesenega kvadra, v katerega so zabiti medeninasti žebljiči, ploščice in trakovi. Ti tvorijo listnat in cvetni vzorec, obdan z igličasto vejico. Vzorec se na osnovni ploskvi štiriktat ponovi. Ob rob modela so zabiti okrogli in trikotni žebljiči, ki sestavljajo ornament v podobi šesterokrake zvezde. Na dveh vogalih modela sta zabita medeninasta nastavitvena žebljiča, žebljič na enem vogalu je odlomljen. V obe stranski ploskvi sta vdolbeni plitvi oprijemali, na čelni ploskvi pa je zaradi poškodovanosti vidna le nepopolna številčna oznaka (št. 1 na prvem mestu). Les je slabo ohranjen, črviv in trhel, del modela manjka, kovinske aplikacije so nepopolne.


125

MODEL / Vitanje / trd les in medenina / š – 16,5 cm, d – 19 cm, v – 5 cm / št. dia. 4376 / inv. št. 9607.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti okrogli žebljiči in pravokotne ploščice, ki sestavljajo kvadratni vzorec. Ta je razporejen na osnovni ploskvi v vzporednih zamaknjenih vrstah. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi modela sta vdolbeni oprijemali. Na eni robni ploskvi je prostoročno z belo barvo napisana št. 109, na drugi robni ploskvi pa s šablono in z belo barvo št. 222. Les je močno črviv, kovinske aplikacije so ohranjene.


126

MODEL / Vitanje / trd les in medenina / š – 14,5 cm, d – 17 cm, v – 4,7 cm / št. dia. 4377 / inv. št. 9608.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči, ki tvorijo točkast in stiliziran rastlinski vzorec. Slednjega sestavljajo trije okrogli in trije zrnasti žebljiči, po modelu pa je vzorec nanizan v vzporednih vrstah, med katerimi so vrste okroglih žebljičev. V osnovno ploskev modela je vrezan vzorec, ki pa ni bil zapolnjen z aplikacijami. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi sta vdolbeni oprijemali, na eni čelni ploskvi je prostoročno z belo barvo napisana št. 325, na drugi čelni ploskvi pa s šablono in z belo barvo št. 209. Les je dobro ohranjen, kovinske aplikacije so nepoškodovane.


127

MODEL / Vitanje / trd les in medenina / š – 19 cm, d – 20 cm, v – 5,3 cm / št. dia. 4378 / inv. št. 9609.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči in ploščice, ki sestavljajo vzorec ploda ali cveta. Ta je na osnovni ploskvi modela razporejen v vzporednih zamaknjenih vrstah. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi sta vdolbeni oprijemali, na eni čelni ploskvi modela je prostoročno z belo barvo napisana št. 351, na drugi čelni ploskvi pa s šablono in z belo barvo št. 117. Les je črviv, kovinske aplikacije so nepoškodovane.


128

MODEL / Vitanje / trd, mehek les in medenina / š – 19,5 cm, d – 24 cm, v – 5,5 cm / št. dia. 4379 / inv. št. 9610.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči in ploščice, ki sestavljajo geometrijski vzorec. Vsak motiv tvorijo v obliko trikotnika zabite ploščice z lesenim polnilom in po trije okrogli žebljiči, ki tudi tvorijo trikotni lik. Vzorec je razporejen v več različnih kombinacijah in zaporedjih. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. Na reverzno stran osnovne deske je pritrjena smrekova deska, ki ima v obe stranski ploskvi vdolbeni oprijemali. Na eni čelni ploskvi je prostoročno z belo barvo napisana št. 167, na drugi čelni ploskvi pa s šablono in z belo barvo št. 245. Les je dobro ohranjen, kovinske aplikacije so nepoškodovane. Na deski so vidni sledovi obdelave posameznih vzorcev.


129

MODEL / Vitanje / trd les in medenina / š – 17,8 cm, d – 21 cm, v – 3 cm / št. dia. 4380 / inv. št. 10009.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabite medeninaste ploščice in žebljiči okroglih, zrnastih in kapljastih oblik. Ti tvorijo dva cvetlična vzorca – enega z listnatimi vejicami in drugega brez njih. Vzorca sta na osnovni ploskvi razporejena v vzporednih, zamaknjenih vrstah in si izmenoma sledita drug za drugim. Na dveh vogalih modela sta zabita medeninasta nastavitvena žebljiča, na enem vogalu manjka žebljič. Les je črviv, deska je počena po vsej dolžini, kovinske aplikacije so povečini nepoškodovane. Modelu manjka spodnja deska, zato so tudi tri številke na čelni ploskvi le polovično ohranjene.


130

MODEL / Vitanje / trd les in medenina / š – 16 cm, d – 19 cm, v – 5,5 cm / št. dia. 4381 / inv. št. 10010.

Za predmet velja enaka pridobitev kot pri kat. št. 34. Model je narejen iz deske, v katero so zabiti medeninasti obročki, ki imajo leseno polnilo in tvorijo točkast vzorec. Motivno je vzorec nepopoln; na osnovni deski so vidni diagonalno vrezani petčrtni cikcakasti žlebiči, ki pa niso bili zapolnjeni s kovinskimi aplikacijami. Na dveh vogalih modela sta zabita medeninasta nastavitvena žebljiča, v enem vogalu manjka žebljič. V obe stranski ploskvi modela sta vdolbeni oprijemali, na eni čelni ploskvi je prostoročno z belo barvo napisana št. 43, na drugi čelni ploskvi pa s šablono in z belo barvo št. 141. Les je zelo slabo ohranjen, trhel, del modela manjka, točkasti okras ni popoln.


131

MODEL / Škofja Loka / trd, mehek les / š – 14,6 cm, d – 14,8 cm, v – 5 cm / št. dia. 4382 / inv. št. 18502 / stara inv. št. 2906.

Za predmet velja enaka pridobitev kot pri kat. št. 1. Model je narejen iz deske, iz katere so izrezljani širši in ožji okrogli leseni čepi. Na prisekani kvadratni osnovi je točkast vzorec razporejen v vzporedne zamaknjene vrste. Na reverzno stran osnovne deske je pribita smrekova deska, ki služi kot oprijemalo. Model nima nastavitvenih žebljičev in tudi ne serijskih številk. Les je dobro ohranjen, leseni čepi so nepoškodovani.


132

MODEL / Škofja Loka / trd les in medenina / š – 10 cm, d – 16 cm, v – 5,2 cm / št. dia. 4383 / inv. št. 18503 / stara inv. št. 2907.

Za predmet velja enaka pridobitev kot pri kat. št. 1. Model je narejen iz deske, v katero so zabiti okrogli medeninasti žebljiči, ki tvorijo stiliziran motiv srca in listov. Na osnovno desko sta z reverzne strani pritrjeni še dve smrekovi deski, ki služita za ojačitev tanke osnovne plošče. Model je brez nastavitvenih žebljičev in brez serijskih številk. Les je dobro ohranjen, kovinske aplikacije so nepoškodovane.


133

MODEL / Škofja Loka / trd les in medenina / š – 14 cm, d – 17 cm, v – 5,2 cm / št. dia. 4384 / inv. št. 18504 / stara inv. št. 6475.

Za predmet velja enaka pridobitev kot pri kat. št. 1. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči in ploščice, ki tvorijo vejice z lističi in droben cvet v obliki zvezdice (cvetni listi manjkajo, tako da vzorec ni v celoti izveden po predlogi). Vzorec je razporejen v vzporedne zamaknjene vrste. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči, v obe stranski ploskvi sta vdolbeni oprijemali. Na čelni ploskvi modela je prostoročno z belo barvo napisana št. 41. Les je dobro ohranjen, prav tako tudi kovinske aplikacije.


134

MODEL / Škofja Loka / trd les in medenina / š – 18,5 cm, d – 18,5 cm, v – 5,5 cm / št. dia. 4385 / inv. št. 18505 / stara inv. št. 6482.

Za predmet velja enaka pridobitev kot pri kat. št. 1. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči in ploščice, ki tvorijo štiri v podobi puščične konice oblikovana polja z lesenim polnilom. Te obdajajo v kvadrat zabiti štirje okrogli žebljiči. Vzorec je na modelu razporejen v vzporednih zamaknjenih vrstah. V osnovno ploskev je vrezan tudi kvadratni vzorec, ki pa ni bil zapolnjen z aplikacijami, le na sečišča linij so zabiti okrogli žebljiči. Na treh vogalih modela in na robu stranske ploskve so zabiti štirje medeninasti nastavitveni žebljiči. V obe stranski ploskvi sta vdolbeni oprijemali, na čelni ploskvi je prostoročno z belo barvo napisana št. 34. Les je ohranjen, deska počena po celotni dolžini, kovinske aplikacije so večinoma ohranjene.

Podoben vzorec je odtisnjen na tkanini kat. št. 150/detajl 42.


135

MODEL / Škofja Loka / trd les in medenina / š – 17,8 cm, d – 21 cm, v – 4,5 cm / št. dia. 4386 / inv. št. 18506 / stara inv. št. 6485.

Za predmet velja enaka pridobitev kot pri kat. št. 1. Model je narejen iz deske, v katero so vzporedno z zamikom druga ob drugi zabite valovite medeninaste ploščice. Te sestavljajo različne razgibane črtaste vzorce, ki se na osnovni ploskvi ponavljajo v enakomernih zaporedjih. Na štiri vogale modela so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi sta vdolbeni oprijemali. Les je dobro ohranjen, prav tako tudi kovinske aplikacije.

Enak vzorec je tudi na tkanini kat. št. 150/detajl 51.


136

MODEL / Škofja Loka / trd les in medenina / š – 18,5 cm, d – 19,5 cm, v – 5,5 cm / št. dia. 4387 / inv. št. 18507 / stara inv. št. 6491.

Za predmet velja enaka pridobitev kot pri kat. št. 1. V desko so zabiti medeninasti žebljiči zrnastih oblik, ploščice in trakovi, ki tvorijo stilizirano vejico s tremi lističi in šestimi plodovi. Vzorec je razporejen na osnovni ploskvi modela v vzporednih zamaknjenih vrstah. Na dveh vogalih modela in na robu stranske ploskve so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi sta vdolbeni oprijemali. Na čelni ploskvi modela je prostoročno z belo barvo napisana št. 91. Les je dobro ohranjen, na enem vogalu deloma počen, kovinske aplikacije so nepoškodovane.


137

MODEL / Škofja Loka / trd les in medenina / š – 17,5 cm, d – 20,7 cm, v – 5,3 cm / št. dia. 4388 / inv. št. 18508 / stara inv. št. 6492.

Za predmet velja enaka pridobitev kot pri kat. št. 1. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči in ploščice, ki tvorijo droben cvetni vzorec. Ta je na osnovni ploskvi modela razporejen v vzporednih zamaknjenih vrstah, in sicer tako, da je v eni vrsti obrnjen v eno smer, v drugi vrsti pa v obratno smer. Model je na eni strani dopolnjen z dodatno vrsto cvetnega vzorca; na dveh vogalih sta zabita medeninasta nastavitvena žebljiča, na dveh vogalih manjkata žebljiča. V obe stranski ploskvi modela sta vdolbeni oprijemali. Les je dobro ohranjen, razen dveh vogalov, ki sta deloma odlomljena, kovinske aplikacije so nepoškodovane.

Enak vzorec je odtisnjen na tkanini kat. št. 150/detajl 53.


138

MODEL / Škofja Loka / trd les in medenina / š – 17,5 cm, d – 20,5 cm, v – 5,4 cm / št. dia. 4389 / inv. št. 18509 / stara inv. št. 6493.

Za predmet velja enaka pridobitev kot pri kat. št. 1. Model je narejen iz deske, iz katere so izrezljani leseni ornamenti, ki skupaj s kovinskimi žebljiči tvorijo rastlinski vzorec. Tega sestavlja dvoje cvetličnih motivov z vejicami oziroma lističi, razporejenimi na osnovni ploskvi v vzporednih zamaknjenih vrstah. V praznih poljih med ornamenti je samo točkasto nakazan vzorec; zabitih je le nekaj žebljičev. Na enem vogalu modela je zabit medeninast nastavitveni žebljič, na enem vogalu manjka žebljič. Na reverzno stran osnovne deske je pritrjena še ena deska iz trdega lesa, v njeno reverzno stran pa sta vdolbeni oprijemali. Na čelni ploskvi je prostoročno zapisana dvoštevilčna oznaka, od katere lahko preberemo le št. 3 na prvem mestu. Les je dobro ohranjen, razen enega vogala, ki je odlomljen, leseni in kovinski deli vzorcev so v glavnem nepoškodovani.


139

MODEL / Škofja Loka / trd les in medenina / š – 17,3 cm, d – 19 cm, v – 4,8 cm / št. dia. 4390 / inv. št. 18510 / stara inv. št. 6494.

Za predmet velja enaka pridobitev kot pri kat. št. 1. Model je narejen iz deske, v katero so zabite kovinske aplikacije. Okrogli, zrnasti in kapljasti žebljiči ter ploščice sestavljajo vejico z večjim listom, obročki z lesenim polnilom pa sestavljajo plodove. Vzorec je po plošči razporejen v vzporednih zamaknjenih vrstah. Na treh vogalih modela in robu stranske ploskve so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi sta vdolbeni oprijemali, na čelni ploskvi je prostoročno z rdečo barvo napisana št. 122. Les je dobro ohranjen, aplikacije pa so nepoškodovane.


140

MODEL / Škofja Loka / trd les in medenina / š – 18 cm, d – 18,5 cm, v – 4,3 cm / št. dia. 4391 / inv. št. 18511 / stara inv. št. 6495.

Za predmet velja enaka pridobitev kot pri kat. št. 1. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči, ki tvorijo okrogel in kvadraten vzorec. Prvi je sestavljen iz kvadratno in koncentrično zabitih žebljičev. Drugega sestavljajo štiri stilizirani srčasti motivi, ki skupno tvorijo kvadratno polje. Vzorca na plošči sta razvrščena v vzporednih zamaknjenih vrstah. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. V obe stranski ploskvi modela sta vdolbeni oprijemali. Les je dobro ohranjen, kovinske aplikacije pa so nepoškodovane.


141

MODEL / neznano / trd, mehek les in medenina / š – 22,5 cm, d – 25,5 cm, v – 5 cm / št. dia. 4392 / inv. št. 18512.

Način pridobitve ni znan. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči in trakovi, ki tvorijo vejice z lističi in cvetovi. Cvetovi so sestavljeni iz kovinskih ploščic z lesenim polnilom. Med rastlinski vzorec so zabiti medeninasti obročki. Vzorci na osnovni ploskvi so zamaknjeno razporejeni. Na treh vogalih modela so zabiti medeninasti nastavitveni žebljiči. Na reverzno stran osnovne deske je z vijaki in žeblji pritrjena smrekova deska, v obe njeni stranski ploskvi sta vdolbeni oprijemali. Na čelni ploskvi modela je prostoročno napisana št. 59. Les je dobro ohranjen, kovinske aplikacije so nepoškodovane.


142

MODEL / neznano / trd les in medenina / š – 16,5 cm, d – 22,7 cm, v – 5,6 cm / št. dia. 4393 / inv. št. 18513.

Način pridobitve ni znan. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči in ploščice, ki tvorijo vejice z lističi, drobne cvetove ter večje cvetove v obliki roga. Vzorec na osnovni ploskvi je razporejen v štirih vzporednih vrstah, in sicer tako, da je obrnjen izmenoma v eno in drugo smer. Na dveh vogalih modela sta zabita medeninasta nastavitvena žebljiča. V obe stranski ploskvi modela sta vdolbeni oprijemali, na čelni ploskvi je nabita bakrena ploščica s puncirano št. 65. Na reverzu deske sta z dletom vsekani inicialki F. G. Les je dobro ohranjen, kovinske aplikacije deloma manjkajo, sicer so v glavnem nepoškodovane.


143

MODEL / neznano / trd les in medenina / š – 18,5 cm, d – 17,5 cm, v – 6 cm / št. dia. 4394 / inv. št. 18514.

Način pridobitve ni znan. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči, trakovi in ploščice, tako da tvorijo dve skupini kompozicijsko enakih rastlinskih in cvetličnih vzorcev, ki jih medsebojno povezujeta točkasti vzporedni liniji okroglih žebljičev. En vzorec sestavljata večja polžasto oblikovana lista in troje listnatih vejic, drug vzorec sestavljajo stilizirani cvetovi znotraj kapljasto oblikovanega polja. V vzorcih je bilo po eno polžasto oblikovano polje, zapolnjeno z lesenim polnilom, kasneje odstranjeno, vanj pa so bili zabiti okrogli medeninasti žebljiči. Na dveh vogalih modela sta zabita medeninasta nastavitvena žebljiča. Kompozicijsko so vzorci na robovih modela polovično izvedeni in se ob tiskanju (prestavljanju modela) dopolnijo na blagu v skladno celoto. V obe stranski ploskvi modela sta vdolbeni oprijemali, na čelni ploskvi je z zeleno barvo napisana št. 189. Les je trhel, kovinske aplikacije pa so nepopolne.


144

MODEL / neznano / trd les in medenina / š – 17,2 cm, d – 17 cm, v – 3 cm / št. dia. 4395 / inv. št. 18515.

Način pridobitve ni znan. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči in trakovi. Ti tvorijo vzorec prepletajoče se valovnice, obdane z okroglimi žebljiči, in vzorec valovitega traku, ki ga na vsaki strani obdajajo stilizirani drobni cvetovi. Vzorca sta po deski izmenoma razporejena v vzporednih vrstah. Na osnovni ploskvi modela so vidne vrezane črte, ki so bile v pomoč pri izdelavi vzorcev. Na enem vogalu modela je zabit medeninasti nastavitveni žebljič, v dveh vogalih manjkata žebljiča. Na reverzni strani osnovne deske je bila prilepljena še ena deska, ki zdaj manjka. Les je dobro ohranjen, kovinske aplikacije so povečini ohranjene.


145

MODEL / neznano / trd les in medenina / š – 19 cm, d – 22,5 cm, v – 2,2 cm / št. dia. 4396 / inv. št. 18516.

Način pridobitve ni znan. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči, ploščice in trakovi. Vzorec, ki ga sestavljajo stebla, vitičje in šestlistni cvetovi, je razporejen po osnovni ploskvi v navidez neurejenem zaporedju. Cvetni nastavki so izvedeni v zvončasti obliki in zapolnjeni z lesenim polnilom. Na treh vogalih modela in na robu stranske ploskve so zabiti medeninasti nastavitveni žebljiči. Na reverzno stran osnovne deske je bila pritrjena deska, ki zdaj manjka. Les je malo črviv, na eni strani je model počen po vsej dolžini; kovinske aplikacije so nepoškodovane.


146

MODEL / Tržič / trd les in medenina / š – 11 cm, d – 15 cm, v – 5,3 cm / št. dia. 4397 / inv. št. 18517.

Način pridobitve ni znan. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči, ploščice in trakovi, ki tvorijo podobo grba. Ta je sestavljen iz praznega elipsoidnega (ovalnega) ščita, obdanega s stiliziranimi listnimi vejicami, in s krono na vrhu. Na levi in desni strani obdajata ščit živalski figuri – glavi leva s krono in samoroga. Pod ščitom je polkrožen napis CASP. POLLAK in pod njim v rahlo uviti liniji napis IN NEUMARKTL. Na dnu grba je simetrična kompozicija stiliziranih listnih vzorcev, med katerima je apliciran stiliziran navzdol obrnjen (tulipanov?) cvet. Na dveh skrajnih koncih modela sta zabita medeninasta nastavitvena žebljiča, v obe stranici pa sta vdolbeni plitki oprijemali. Les je dobro ohranjen, kovinske aplikacije so popolne in le na robovih deloma poškodovane. Model predstavlja trgovsko znamko tržiškega barvarja in tiskarja Gašperja Polaka.


147

MODEL / neznano / trd les in medenina / š – 10,8 cm, d – 14,8 cm, v – 2 cm / št. dia. 4398 / inv. št. 18518.

Način pridobitve ni znan. Model je narejen iz deske, v katero so zabiti medeninasti žebljiči, ploščice in trakovi, ki tvorijo rastlinsko-geometrijski vzorec. Osnovni motiv sestavljata dva večja bogato krašena cvetova, kiju povezujeta vejici s stiliziranimi okroglimi cvetovi ali morda plodovi. Na vsaki strani zamejuje cvetno motiviko vrsta kvadratnih in stiliziranih cvetličnih vzorcev. Kompozicija vzorcev na osnovni plošči je vogalno razporejena, saj je model namenjen tiskanju vogalnih bordur. Na skrajnih točkah modela je zabitih pet medeninastih nastavitvenih žebljičev, štirje žebljiči so odlomljeni. Na reverzni strani je bila prilepljena dodatna plošča, ki zdaj manjka, tako da model nima oprijemal. Les je dobro ohranjen, kovinske aplikacije so povečini ohranjene in nepoškodovane.




Katalog modro tiskanih tkanin


148

VZORČNIK / neznano / bombaž / š – 87 cm, d – 115 cm / št. dia. 4399 / inv. št. 3131.

Način pridobitve ni znan. Na pravokotnem temno modro barvanem bombažnem blagu je šestnajst različnih vzorčnih polj z belimi in svetlo modrimi geometrijskimi in stiliziranimi rastlinskimi vzorci, natisnjenimi z ročnimi modeli za tiskanje blaga. Vzorčna polja obdaja bordura s ponavljajočim se rastlinskim motivom (listi in plodovi). Vzorčnik je obrobljen z rumenim bombažnim trakom, kar daje slutiti, da so ga uporabljali kot okrasni prt. Predmet je povečini dobro ohranjen, le v enem vogalnem polju je na treh mestih raztrgan. V drugem vogalnem polju je poleg vzorcev prostoročno napisana letnica 1832, kar je verjetno leto nastanka vzorčnika. Glede na vzorce, ki so natisnjeni na blagu, in glede na modele z enakimi vzorci, ki jih hrani Loški muzej v Škofji Loki, lahko pripišemo vzorčnik Pokorno vi barvarni v Škofji Loki.


149

VZORČNIK / neznano / bombaž / š – 87 cm, d – 90 cm / št. dia. 4400 / inv. št. 3132.

Način pridobitve ni znan. Na pravokotnem temno modro barvanem bombažnem blagu je šestnajst različnih vzorčnih polj z rumenimi geometrijskimi in stiliziranimi rastlinskimi vzorci, natisnjenimi z ročnimi modeli za tiskanje blaga. Vzorčna polja so na vseh straneh razmejena z vrstami pik. Vzorčnik je obrobljen z bombažnim trakom krem barve, kar daje slutiti, da so ga uporabljali kot okrasni prt. Predmet je večinoma dobro ohranjen, le na nekaj mestih je predrt. Komentarje enak kot za kat. št. 148. Tudi ta vzorčnik časovno spada v 1. pol. 19. stoletja.


150

VZORČNIK / neznano / bombaž / š – 85,5 cm, d – 131 cm / št. dia. 4428 / inv. št. 3133.

Način pridobitve ni znan. Na pravokotnem temno modro barvanem bombažnem blagu je 48 po velikosti od št. 41 do št. 87 (oz. 88) oštevilčenih različnih vzorčnih polj s svetlo modrimi vzorci, ki so natisnjeni z ročnimi modeli za tiskanje blaga. Vzorčna polja so razmejena z vzporednima svetlo modrima črtama. Številke vzorcev na vzorčniku naj bi praviloma pomenile številke ustreznih modelov (zapisane so na čelnih ploskvah modelov), ki jih je imel barvar v svoji delavnici. Lahko pa so številke pomenile tudi številko motivno podobnega modela. Na robu zgornje strani vzorčnika so prišite tri zanke, da so ga lahko obesili. Zadnje vzorčno polje (št. 88) je skoraj v celoti odrezano, vendar ga je še toliko ohranjenega, da se z gotovostjo lahko določi vzorec in pripadajoči model, ki je v zbirki Slovenskega etnografskega muzeja. Na vzorčniku so odtisnjeni enaki ali podobni vzorci modelov iz Slovenskega etnografskega muzeja z naslednjimi kataloškimi številkami: 2, 5, 7, 8, 17, 20, 27, 28, 29, 30, 134, 135, 137. Vzorčnik je ohranjen in je le na nekaj mestih predrt. Čeprav izvor predmeta v inventarni knjigi ni naveden, lahko z gotovostjo trdimo, da izhaja iz Pokornove barvarske delavnice v Škofji Loki. Vzorčnik je služil barvarjevim strankam, da so se z njegovo pomočjo odločile, s kakšnim vzorcem bi rade imele potiskano blago.


151

VZOREC / Vitanje / bombaž / š – 6 cm, d – 45 cm / št. dia. 4429 / inv. št. 9316.

Vzorec je leta 1963 darovala muzeju Marija Hofbauer iz Vitanja, h. št. 108. Modro barvan trak ima bel vzorec, ki je enak vzorcu modela kat. št. 53. Trak je bil prišit kot okrasna bordura na desni strani prednjega dela jope kat. št. 160, in je bil nato odparan. Vzorec je bil na blago potiskan v Hofbauerjevi barvarni v Vitanju.


152

VZOREC / Vitanje / bombaž / š – 9 cm, d – 12 cm / št. dia. 4430 / inv. št. 9317. Za vzorec velja enaka pridobitev kot pri kat. št. 151. Modro barvan kos tkanine ima bel vzorec, ki je enak vzorcu modela kat. št. 102. Tkanino so tiskali in barvali v Hofbauerjevi barvarni v Vitanju. Darovalka je še okoli leta 1940 nosila za vsak dan predpasnike, ki so bili narejeni iz tega blaga.


153

VZOREC / Vitanje / bombaž / š – 22,5 cm, d – 26 cm / št. dia. 4431 / inv. št. 9318.

Za vzorec velja enaka pridobitev kot pri kat. št. 151. Modro barvan kos tkanine ima bel točkast vzorec, ki je enak vzorcu modela kat. št. 49. Za tisk, barvanje in uporabo tkanine velja enak komentar kot pri kat. št. 152.


154

VZOREC / Vitanje / bombaž / š – 16 cm, d – 47 cm / št. dia. 4432 / inv. št. 9319.

Za vzorec velja enaka pridobitev kot pri kat. št. 151. Modro barvan kos tkanine ima bel vzorec, ki je enak vzorcu modela kat. št. 12 in kat. št. 66. Za tisk, barvanje in uporabo tkanine velja enak komentar kot pri kat. št. 152.


155

VZOREC / Vitanje / bombaž / š – 22,5 cm, d – 38 cm / št. dia. 4433 / inv. št. 9320.

Za vzorec velja enaka pridobitev kot pri kat. št. 151. Modro barvan kos tkanine ima bel vzorec, ki je enak vzorcu modela kat. št. 41. Za tisk, barvanje in uporabo tkanine velja enak komentar kot pri kat. št. 152.


156

VZOREC / Vitanje / bombaž / š – 21 cm, d – 26,5 cm / št. dia. 4434 / inv. št. 9321.

Za vzorec velja enaka pridobitev kot pri kat. št. 151. Modro barvan kos tkanine ima bel vzorec, ki je enak vzorcu modela kat. št. 52. Za tisk, barvanje in uporabo tkanine velja enak komentar kot pri kat. št. 152.


157

VZOREC / Vitanje / bombaž / š – 8 cm, d – 24,5 cm / št. dia. 4435 / inv. št. 9322.

Za vzorec velja enaka pridobitev kot pri kat. št. 151. Modro barvan kos tkanine ima bel točkast vzorec, ki je enak vzorcu modela kat. št. 57. Za tisk, barvanje in uporabo tkanine velja enak komentar kot pri kat. št. 152.


158

BLUZA / Vitanje / bombaž / d – 49 cm / št. dia 4436 / inv. št. 13689.

Predmet je leta 1963 daroval muzeju barvar Alojz Hofbauer iz Vitanja, h. št. 108. Žensko delovno oblačilo je krojeno iz modro barvanega blaga z belimi stiliziranimi cvetličnimi vzorci, enakimi kot pri modelu kat. št. 52. Modrovina je podložena z belo platneno podlogo. Predmet je slabo ohranjen, raztrgan in nepopoln (brez rokavov). Za ta predmet in predmete kat. št. 159, 160, 161, 162 velja, da je bilo blago tiskano in barvano pri Alojzu Hofbauerju v Vitanju. Oblačila je nosila barvarjeva sestra Marija Hofbauer še okoli leta 1950. Oblačila pod navedenimi številkami so bila izdelana okrog leta 1930 in so v tistem času verjetno veljala za pražnja nedeljska popoldanska oblačila.


159

BLUZA / Vitanje / bombaž / d – 47 cm / št. dia. 4437 / inv št. 13690.

Za predmet velja enaka pridobitev kot pri kat. št. 158. Žensko delovno oblačilo z dolgima rokavoma je krojeno iz modro barvanega blaga z belimi geometrijskimi vzorci, enakimi kot pri modelu kat. št. 41. Bluza se zapenja na prsnem delu s pritiskači, za okras pa so prišiti trije gumbi iz biserovine. Modrovina je podložena z belo platneno podlogo. V ledvenem delu je bluza nabrana, na platneno podlago pa je v tem delu prišit trak za zavezovanje. Predmet je slabo ohranjen, levi rokav odrezan, desni rokav raztrgan. Komentar predmeta je enak kot pri kat. št. 158.


160

BLUZA / Vitanje / bombaž / d – 47 cm / št. dia. 4438 / inv. št. 13691.

Za predmet velja enaka pridobitev kot pri kat. št. 158. Oblačilo s širokim ovratnikom in z dolgima rokavoma je krojeno nekaj čez pas iz temno modro barvanega blaga. Za okras je na levi strani prednjega dela in na rokavnih manšetah prišito modro tiskano blago (trak) z belim vzorcem, enakim kot pri modelu kat. št. 53. Na desni strani prednjega dela jope manjka okrasna bordura z enakim vzorcem, ki pa je bila odparana (gl. kat. št. 151). Jopa se zapenja na prsnem delu s pritiskači, za okras pa so prišiti trije beli stekleni gumbi. V ledvenem delu je jopa znotraj podložena s 3 cm širokim bombažnim trakom, na katerega je z dveh strani prišit 1 cm širok trak za zavezovanje. Ledveni del jope je nabran skupaj s trakom. Predmet je slabo ohranjen, komentar k predmetu pa je enak kot pri kat. št. 158.


161

SRAJCA / Vitanje / bombaž / d – 52 cm / št. dia. 4439 / inv. št. 13692.

Za predmet velja enaka pridobitev kot pri kat. št. 158. Oblačilo z dolgima rokavoma je bilo prvotno po vsej verjetnosti krojeno scela iz modro barvanega blaga z belim točkastim vzorcem. Kasneje pa so oblačilo nekaj pod prsmi prerezali in je prerezani del ostal nezarobljen. Oblačilo je na obeh ramenih podloženo z enako tiskano modrovino, iz enakega dvojnega blaga je narejen tudi ovratnik, ki se zapenja na prsnem delu pod vratom z gumboma. Predmet je ohranjen v prsnem in hrbtnem delu, rokava sta raztrgana, en gumb manjka. Komentar k predmetu je enak kot pri kat. št. 158. Glede na kroj bi bil lahko predmet moška srajca, kakršne so nosili moški za delovne dni pred drugo svetovno vojno v Vitanju in okolici.


162

PREDPASNIK / Vitanje / bombaž / d – 58 cm / št. dia. 4440 / inv. št. 13693. Za predmet velja enaka pridobitev kot pri kat. št. 158. Predpasnik je krojen iz modro barvanega blaga z belim točkastim vzorcem, ki je enak vzorcu modela kat. št. 49. Krojen je na pas, rezan v tri pole, z žepom na desni strani. Predmet je slabo ohranjen, zelo potrgan in sodi k ženski delovni obleki. Komentarje enak kot pri kat. št. 158.


163

VZOREC / Vitanje / bombaž / š – 32 cm, d – 73 cm / št. dia. 4441 / inv. št. 13694.

Za predmet velja enaka pridobitev kot pri kat. št. 158. Kos modro barvanega blaga z belimi vzorci za žensko krilo je raztrgan in slabo ohranjen. Vzorec je enak vzorcu modelov kat. št. 12 in kat. št. 66. Komentarje enak kot pri kat. št. 152.


164

VZOREC / Vitanje / bombaž / š – 16 cm, d – 97 cm / št. dia. 4442 / inv. št. 13695.

Za predmet velja enaka pridobitev kot pri kat. št. 158. Kos modro barvanega blaga z belimi vzorci je odrezan od spodnjega dela ženskega krila. Na blago je našit 4 cm širok zeleno siv trak, ki je služil za utrditev spodnjega roba krila. Vzorec je enak vzorcu modelov kat. št. 12 in kat. št. 66. Za predmet velja enak komentar kot pri kat. št. 152.


165

VZOREC / Vitanje / bombaž / š – 21 cm, d – 43 cm / št. dia. 4443 / inv. št. 18519.

Kos modro barvanega blaga z belimi vzorci doslej ni bil vpisan v inventarno knjigo; v muzej je prišel sočasno z drugimi takstilijami iz Hofbauerjeve barvarske delavnice. Predmet je slabo ohranjen, na več mestih raztrgan. Vzorec je približno iz okoli leta 1930 iz Vitanja, takšne vrste blaga pa so uporabljali za ženske obleke.





CATALOGUE


Introductory Remarks

The objects in the catalogue are arranged in ascending order of inventory numbers used by the Slovene Ethnographic Museum (SEM). The data in each catalogue unit is ranked as follows: serial (catalogue) number; object; place of use; material; dimensions (w = width, l = length, h = height); slide number (sl. no.) in the SEM’s slide archives; inventory number (inv. no.); the possible older inventory number (old inv. no.) of the object in the Kranjski deželni muzej (Carniolan Provincial Museum). This is followed by the manner of acquisition of each object, a description of it and a commentary.

To see how the dimensions are calculated, please refer to the enclosed sketch. The height of the block is the sum of the height of the basic and possible other boards, plus the height of the pattern.




The catalogue of hand-printing blocks is followed by the catalogue of blue-printed textiles from the Pokorn dyeing factory in Škofja Loka and from the Hofbauer dyeing factory in Vitanje; the objects described in both catalogues are in the possession of the SEM. The textiles were collected as pattern sheets of blue-printed patterns and are all made of cotton. As above, objects are ranked in ascending order of inventory number, while the data in individual catalogue units is ranked according to the same principle used for the hand-printing blocks.

The numbers in the illustrated annex of hand-printing blocks denote the consecutive (catalogue) numbers of the corresponding blocks in the catalogue. The numbers in the illustrated annex of blue-printed textiles, which follows the illustrated annex of printing blocks, denote the consecutive (catalogue) numbers of the corresponding blue-printed textiles in the catalogue. Details follow a photograph of the whole object. The numbers in the annex also correspond to the numbers listed in the commentaries for individual blocks in the catalogue.



Catalogue of Hand-Printing Blocks


1

PRINTING BLOCK, double / Škofja Loka /

a – hardwood and brass / w – 6.8 cm, l – 25 cm, h – 4.5 cm / sl. no. 4247 / inv. no. 1712 / old inv. no. 6508.

b – hardwood / w – 5.8 cm, l – 24.5 cm, h – 4 cm / sl. no. 4248 / inv. no. 1726 / old inv. no. 6505.

The Carniolan Provincial Museum purchased this block from Marija Pokorn of Škofja Loka in 1906. During the first years of its existence the Royal Ethnographic Museum included it in its collections. The block had been used by the Pokorn dyeing factory in Škofja Loka, where textiles were dyed and printed until World War I.

a – Brass pins, small plates and ribbons, which form a bloom surrounded by stylized spear-shaped leaves and twigs with leaves, are nailed into a wooden block. One half of the inverted floral motif is repeated at the far ends of the base surface. The whole composition is bordered by a brass strip on top, and a brass strip with a row of tear-shaped and round pins on the bottom. A shallow finger-grip hole is carved into each side surface of the block. The wood is well preserved and the metal parts intact.

b – The second part of the double block consists of a wooden block with a carved floral pattern on its base surface. On its left and right the central floral motif is surrounded by stylized leaf patterns consisting of four narrow spear-shaped leaves. One half of the central floral motif is repeated at the far ends of the base surface. On the bottom the composition is bordered by a wooden strip. A shallow finger-grip hole is carved into each side surface of the block. The wood is well preserved and its carved parts are complete.

Each part of the block had been inventoried as a separate object. The block was used for the multicolored printing of borders, and the patterns of both parts complement and cover each other.


2

PRINTING BLOCK / Škofja Loka / hardwood and brass / w – 19.5 cm, l – 21 cm, h – 6.1 cm / sl. no. 4249 / inv. no. 1713 / old inv. no. 6503.

Same manner of acquisition as under cat. no. 1. The block consists of a wooden board, with nailed brass pins, small plates and strips forming a double string of alternating stylized plant patterns. The floral motif is appliquéd in the shape of six rhomboidal leaves with a partial wooden inlay. The twig motif consists of five spear-shaped leaves and seven tiny twigs. Four brass pitch pins are driven into three corners of the block and into the edge of its side surface. A finger-grip hole is carved into each side surface of the block. The number 85 is hand-written in white on one frontal surface of the block. The wood is well preserved; the metal appliqués are complete but partly damaged.

An identical pattern is printed on the textile under cat. no. 150/detail 85.


3

PRINTING BLOCK / Škofja Loka / hardwood and brass / w – 17.5 cm, l – 20.3 cm, h – 4.8 cm / sl. no. 4250 / inv. no. 1714 / old inv. no. 6498.

Same manner of acquisition as under cat. no. 1. The block consists of a wooden board, with brass pins and strips forming identical repeating plant patterns in the shape of blooms and twigs with leaves. The blooms on the base surface form parallel and shifted rows. Four brass pitch pins are driven into three corners of the block and into the edge of its base surface. The number 93 is hand-written in white on a side surface of the block.

The wood is well preserved, and the metal appliqués are complete and intact.


4

PRINTING BLOCK / Škofja Loka / hardwood and brass / w – 19 cm, l – 22.5 cm, h – 4.8 cm / sl. no. 4251 / inv. no. 1715 / old inv. no. 6472.

Same manner of acquisition as under cat. no. 1. The block consists of a wooden board, with brass plates and strips forming a plant/geometric pattern in the shape of small twigs and tendrils with tiny blooms or leaves. Wood is inserted between brass plates. The plant motif on the base surface is arranged in parallel, shifted rows. Wavy brass plates, nailed in parallel rows, fill the gaps between the spaces. Four brass pitch pins are driven into three corners and into the edge of the base surface. A finger-grip hole is carved into each side surface of the block. The number 130 is hand-written in red on one frontal surface. The wood is well preserved, as are the metal parts of the block.


5

PRINTING BLOCK / Škofja Loka / hardwood and brass / w – 19.8 cm, l – 24.3 cm, h – 6 cm / sl. no. 4252 / inv. no. 1716 / old inv. no. 6499.

Same manner of acquisition as under cat. no. 1. The block consists of a wooden board, with brass pins, plates and strips forming plant patterns in three parallel rows. There are three spaces between these plant patterns, each filled with two parallel rows of thicker and thinner brass pins forming a zigzag pattern. Four brass pitch pins are driven into three corners and into the edge of the base surface. A finger-grip hole is carved into each side surface. Barely visible hand-written numbers (80 and 108) and the Roman numeral III are written on one frontal surface of the block. A clearly visible sketch for dividing spaces on the block, which helped the block-maker to execute the design, is cut into the base surface. The pattern still bears traces of blue dye. The wood is partly cracked, but the metal parts of the block are well preserved.

An identical pattern is printed on the textile under cat. no. 150/detail 80.


6

PRINTING BLOCK / Škofja Loka / hardwood / w – l cm, l – 22.7 cm, h – 3.7 cm / sl. no. 4253 / inv. no. 1717 / old inv. no. 2905.

Same manner of acquisition as under cat. no. 1. The block consists of a thin wooden board, with 22 narrower and wider round wooden plugs nailed into the board in an alternating succession according to their size. The plugs form a dotted ornament which borders the edges of blue-printed textiles. A finger-grip hole is carved into each side of the block. The two farthest plugs are missing but the wood is otherwise well preserved.


7

PRINTING BLOCK / Škofja Loka / hardwood and brass / w – 18 cm, l – 23 cm, h – 5.5 cm / sl. no. 4254 / inv. no. 1718 / old inv. no. 6476.

Same manner of acquisition as under cat. no. 1. The block consists of a wooden board with brass strips driven into it. The strips form two identical, interlaced meander patterns which are repeated throughout the base surface. Four brass pitch pins are nailed into the four corners of the block. A finger-grip hole is carved into each side surface. The number 81 is hand-written in white on one frontal surface of the block. The wood and the metal ribbons are well preserved.

An identical pattern is printed on the textile under cat. no. 150/detail 81.


8

PRINTING BLOCK / Škofja Loka / hardwood and brass / w – 17.5 cm, l – 20 cm, h – 6.4 cm / sl. no. 4255 / inv. no. 1720 / old inv. no. 6479.

Same manner of acquisition as under cat. no. 1. The block consists of a wooden board, with brass pins, plates and strips forming flowers with interlacing stems, adorned with tiny leaves. The flower petals have partial wooden inlays. The flowers are arranged in parallel, shifted rows, each containing three blooms. Four brass pitch pins are driven into three corners and a side surface of the block. Another hardwood board with two finger-grip holes is nailed onto the reverse side of the base board. The number 76 is hand-written in white on one frontal surface of the block. The wood is well preserved and the metal appliqués complete and intact, but there is a crack along the whole width of the base board.

An identical pattern is printed on the textiles under cat. nos. 148, 149 and 150/detail 76.


9

PRINTING BLOCK, double / Škofja Loka

a – hardwood and brass / w – 5.7 cm, l – 25 cm, h – 5.8 cm / sl. no. 4256 / inv. no. 1721 / old inv. no. 6507.

b – hardwood / w – 4.9 cm, 1–21.8 cm, h – 4.3 cm / sl. no. 4257 / inv. no. 18501 / old inv. no. 2901.

Same manner of acquisition as under cat. no. 1.

a – Round and pebble-shaped brass pins are nailed into a wooden block. The pins form three plant patterns (of a fruit and of two different leaves), which alternate throughout the base surface. Brass pitch pins, one of which is broken off, are driven into four corners of the block, and a shallow finger-grip hole is carved into each side surface. The wood is well preserved. The metal appliqués are complete but partly bent in exposed areas.

b – The second part of the double block is also made from a wooden block, but the plant pattern on the base surface is carved into it. The ornament consists of four identical stylized fruits, which form a line along the base surface. A shallow finger-grip hole is carved into each side surface. The wood is well preserved and the ornament intact.

Each half of the block had been inventoried as a separate object. The block was used for the multicolored printing of borders, and the patterns of both parts complement and cover each other.


10

PRINTING BLOCK / Škofja Loka / hard and soft wood, brass / w – 19 cm, l – 23 cm, h – 5.4 cm / sl. no. 4258 / inv. no. 1722 / old inv. no. 6480. Same manner of acquisition as under cat. no. 1. The block consists of a wooden board, with brass pins, plates and strips forming four rows of plant patterns consisting of twigs, blooms or fruits, and tendrils. Wood is inserted into the round appliqués of the plant ornaments. Four brass pitch pins are driven into the corners of the block. A pine board, with a finger-grip hole carved into each side surface, is glued onto the reverse side of the base board. The number 18 is hand-written in white on one frontal surface; the number on the other side surface is not clear. The base board is cracked in two places; the metal appliqués are well preserved.


11

PRINTING BLOCK / Škofja Loka / hard and soft wood, brass / w – 18 cm, 1–21 cm, h – 5.8 cm / sl. no. 4259 / inv. no. 1723 / old inv. no. 6484.

Same manner of acquisition as under cat. no. 1. The block consists of a wooden board, with round and tear-shaped brass pins forming a plant pattern. Repeating motifs of twigs with small leaves are shifted and form a diagonal pattern. Four brass pitch pins are driven into each corner of the block. A pine board, with a carved finger–grip hole on each side surface, is glued onto the reverse side of the base board. Both side and front surfaces of the block are painted rusty red. The number 30 is hand-written in white on one frontal surface, the number 54 in white on the other. The wood is well preserved, and the metal appliqués are complete and undamaged.


12

PRINTING BLOCK / Škofja Loka / hardwood and brass / w – 20 cm, l – 23.5 cm, h – 5 cm / sl. no. 4260 / inv. no. 1725 / old inv. no. 6473.

Same manner of acquisition as under cat. no. 1. The block consists of a wooden board, with differently-shaped brass pins and plates forming a plant pattern. The motifs of interlaced tendrils with tiny flowers and the motifs of a sprig with leaves are repeated on the base surface of the block in parallel, shifted rows. Four brass pitch pins are driven into three corners of the block and into the edge of a side surface. A finger-grip hole is carved into each side surface of the block. The wood is well preserved; the metal appliqués are incomplete and damaged. The motif on the block is identical to that under cat. no. 66.

An identical pattern is also printed on the textiles under cat. nos. 154, 163 and 164.


13

PRINTING BLOCK / Škofja Loka / hardwood and brass / w – 20 cm, l – 20.5 cm, h – 5.5 cm / sl. no. 4261 / inv. no. 1727 / old inv. no. 6471.

Same manner of acquisition as under cat. no. 1. The block consists of a wooden board, with brass pins and cones forming a geometrical pattern. The cones and pins form two different square motifs arranged on the base surface in five parallel rows. With regard to the base surface, the square cone pattern is rotated by 45 degrees. The cyclical rotation of the squares in each row impresses a rich, diagonally structured pattern. Brass pitch pins are driven into three corners of the block, and a finger-grip hole is carved into each of its side surfaces. The number 12 is hand-written in white on one of the frontal surfaces. The wooden and metal parts of the block are well preserved.


14

PRINTING BLOCK / Škofja Loka / hardwood and brass / w – 19.5 cm, l – 26 cm, h – 5.7 cm / sl. no. 4262 / inv. no. 1729 / old inv. no. 6474.

Same manner of acquisition as under cat. no. 1. The block consists of a wooden board, with brass pins, plates, strips and cones forming a stylized plant pattern in four parallel rows. The cones have wooden inlays. Metal appliqués form a motif of two identical rows of stylized sprigs with leaves. An identical ornament is repeated in each second row. Brass pitch pins are driven into three corners and one side surface of the block; a finger-grip hole is carved into each side surface. The number 43 is hand-written in white on one frontal surface of the block. The wooden and metal parts are well preserved.


15

PRINTING BLOCK / Škofja Loka / hard and soft wood, brass / w – 20 cm, l – 22.2 cm, h – 5.7 cm / sl. no. 4263 / inv. no. 1730 / old inv. no. 6477.

Same manner of acquisition as under cat. no. 1. The block consists of a wooden board, with brass pins forming a pattern of interlaced tendrils. Three brass pitch pins are driven into each corner. A pine board with two carved finger-grip holes is nailed onto the reverse side of the base board. The number 162 is hand-written in white on one of the frontal surfaces. The wooden and metal parts are well preserved.


16

PRINTING BLOCK, double /Škofja Loka/

a – hardwood / w – 2.3 cm, l – 20.5 cm, h – 4.5 cm / sl. no. 4264 / inv. no. 1731 / old inv. no. 2900.

b – hardwood and brass / w – 3.7 cm, l – 22 cm, h – 5 cm / sl. no. 4451 / inv. no. 1724 / old inv. no. 2902.

Same manner of acquisition as under cat. no. 1.

a – A single row of stylized floral patterns is carved from a wooden block. The ornament consists of four eight-petalled flowers, with four small leaf decorations inserted between them. A shallow finger-grip hole is carved into each side surface of the block. The wood is well preserved and the carved ornament incomplete.

b – The second part of the double block is likewise made from a wooden block with a carved, single-row wooden and metal-appliquéd pattern. Metal appliqués form four eight-petalled flowers, with four squares arranged between them. The squares are filled with a wooden geometrical pattern, and with round and star-shaped metal pins. The entire length of the composition is surrounded by two wavy brass ribbons. A shallow finger-grip hole is carved into each side surface of the block. The wood is well preserved and the patterns complete.

Each part of the double block had been inventoried as a separate object. The block was used for the two-color printing of borders, and the patterns of both parts complement and cover each other.


17

PRINTING BLOCK / Škofja Loka / hardwood and brass / w – 16.5 cm, l – 18.3 cm, h – 5.7 cm / sl. no. 4265 / inv. no. 1732 / old inv. no. 6481.

Same manner of acquisition as under cat. no. 1. The block consists of a wooden board with brass pins and strips driven into it. These form eight identical bunches of sprigs, with fruits and with tiny stylized flowers between them. The bunches of sprigs are arranged in parallel lines, each of which is a mirror image of the previous one. Brass pitch pins are driven into three corners of the block, and each side surface has a finger-grip hole. The number 88, and the number 94 above it, are hand-written in white and black respectively on one frontal surface of the block. The block is complete; its base surface is dried-out and cracked.

An identical pattern is printed on the textile under cat. no. 150/detail 88.


18

PRINTING BLOCK / Škofja Loka / hardwood and brass / w – 16.5 cm, l – 15.5 cm, h – 5.1 cm / sl. no. 4266 / inv. no. 1733 / old inv. no. 6502.

Same manner of acquisition as under cat. no. 1. The block consists of a wooden board, with brass pins, strips and plates forming a plant pattern. The motif on the block consists of two identical sprigs with fruits and three leaves each. Each sprig is a mirror image of the other. One half of each leaf is made of metal appliqués; the other is carved from the base board. Brass pitch pins are driven into three corners of the block, and each side surface has a finger-grip hole. A hand-written but illegible number is written on one frontal surface in white paint. The wood is well preserved, and the metal appliqués are complete and undamaged.


19

PRINTING BLOCK / Škofja Loka / hard and soft wood, brass / w – 20 cm, l – 24.5 cm, h – 5.7 cm /sl. no. 4267 / inv. no. 1734 / old inv. no. 6500.

Same manner of acquisition as under cat. no. 1. The block consists of a wooden board, with brass pins and plates forming a floral pattern. The motif of a flower with a leaf is repeated in parallel, shifted rows throughout the base surface of the block. The spaces between the flowers are filled with tiny dotted geometrical patterns. Brass pitch pins are driven into four corners of the block. A pine board with two carved grip-holes is fastened onto the reverse side of the base board with six screws and a nail. There is a hand-written number 51 in white paint on one frontal surface, and a hand-written number 160 in white paint on the other. The wood is well preserved, and the metal appliqués are complete and undamaged.


20

PRINTING BLOCK / Škofja Loka / hardwood and brass / w – 16.5 cm, l – 19.5 cm, h – 5 cm / sl. no. 4268 / inv. no. 1735 / old inv. no. 6478.

Same manner of acquisition as under cat. no. 1. The block consists of a wooden board, with brass pins, plates and strips forming a pattern of sprigs with leaves, tendrils and blooms. The pattern is arranged in four parallel, shifted rows. The leaves have a partial wooden inlay. Brass pitch pins are driven into three corners of the block. A finger-grip hole is carved into each side surface of the block. The number 55 is hand-written in white on one frontal surface. The wood is well preserved, and the metal appliqués complete and undamaged.

An almost identical pattern is printed on the textile under cat. no. 150/detail 55. The impression on the pattern sheet from the SEM corresponds to the block under inv. no. KDMP 2709/83 from Firbar’s workshop in Škofja Loka. It is kept at the Škofja Loka Museum.


21

PRINTING BLOCK / Škofja Loka / hardwood and brass / w – 17.5 cm, l – 20.5 cm, h – 4.5 cm / sl. no. 4269 / inv. no. 1736 / old inv. no. 6497.

Same manner of acquisition as under cat. no. 1. The block consists of a wooden board, with brass pins, plates and strips forming a plant pattern. Metal appliqués on the base board are supplemented by carved wooden parts of a leaf ornament. The ornament consists of two parallel and regularly repeated motifs of plant stalks with leaves, sprigs and fruits. Brass pitch pins are driven into three corners of the block. Each side surface of the block has a finger-grip hole. The number 137 is hand-written in brown on one frontal surface. The wood and the metal appliqués are well preserved.


22

PRINTING BLOCK / Škofja Loka / hardwood and brass / w – 16.5 cm, l – 19 cm, h – 6 cm / sl. no. 4270 / inv. no. 1737 / old inv. no. 6501.

Same manner of acquisition as under cat. no. 1. The block consists of a wooden board, with brass pins, plates and strips forming a plant pattern. The pattern on the base board, consisting of sprigs with leaves and fruits, is arranged into four parallel rows. The motifs in alternate rows face the same direction. Brass pitch pins are driven into four corners of the block. Each side surface of the block has a carved finger-grip hole. The numbers 33, 61 and 82, next to each other, are hand-written in white on one frontal surface. The wood is well preserved, and the metal appliqués complete and undamaged.


23

PRINTING BLOCK / Škofja Loka / hardwood and brass / w – 16 cm, l – 18.5 cm, h – 4.6 cm / sl. no. 4271 / inv. no. 1738 / old inv. no. 6490.

Same manner of acquisition as under cat. no. 1. The block consists of a wooden board, with brass pins and strips forming six-pointed stars in a geometrical pattern. Metal strips compose parallel wavy lines surrounded by pins driven into the wood. Wavy lines and rows of stars alternately follow each other throughout the base surface. Brass pitch pins are driven into three corners of the block. A finger-grip hole is carved into each side surface of the block. The number 20 is hand-written in white paint on one frontal surface. The wood is well preserved, and the metal parts complete and undamaged.


24

PRINTING BLOCK, double / Škofja Loka /

a – hardwood and brass / w – 8.5 cm, l – 27 cm, h – 5.6 cm / sl. no. 4272 / inv. no. 1739 / old inv. no. 2904.

b – hardwood / w – 7.5 cm, l – 26.7 cm, h – 5.6 cm / sl. no. 4273 / inv. no. 1740 / old inv. no. 2903.

Same manner of acquisition as under cat. no. 1.

a – Brass pins, plates and strips, forming a floral design, are driven into a wooden block. Metal appliqués form a motif of sprigs with leaves, each with three larger rosette flowers. The composition consists of two identical motifs arranged symmetrically on the base surface. The entire pattern is bordered by a dotted line of round brass pins on the upper side of the block, and by a three-row pattern of round and grain-shaped pins on its lower side. Two brass pitch pins are driven into two corners of one side of the block. A shallow finger-grip hole is carved into each side surface of the block. The wood is well preserved, and the metal appliqués complete and undamaged.

b – The second part of the block consists of a wooden block, with carved elements on the base surface. The elements follow individual forms of metal appliqués, such as petals and leaves, on the first part of the block. A carved rhomboidal strip, covered with the dotted line of metal appliqués, borders the pattern on the upper side. The wood is well preserved; the carved parts are partly broken off.

Each part of the double block had been inventoried as a separate object. The block was used for the two-color printing of borders, and the patterns of both parts complement and cover each other.


25

PRINTING BLOCK, double / Škofja Loka /

a – hardwood / w – 5.1 cm, l – 24 cm, h – 4 cm / sl. no. 4274 / inv. no. 1741 / old inv. no. 6504.

b – hardwood and brass / w – 5.7 cm, l – 26.5 cm, h – 4.7 cm / sl. no. 4275 / inv. no. 1742 / old inv. no. 6506.

Same manner of acquisition as under cat. no. 1.

a – Four eight-petalled rosettes, forming a single row, are carved from a wooden block. Each rosette has a round hole carved into its middle. A shallow finger-grip hole is carved into each side surface. The wood is well preserved; the carved parts are complete and undamaged.

b – The second part consists of a wooden block, with brass pins, plates and strips forming a floral pattern. The composition consists of four eight-petalled rosettes formed with strips and round pins. Appliquéd sprigs with leaves and a tiny geometrical decoration of round and star-shaped pins are arranged between the rosettes. Two brass pitch pins are driven into both corners of one side of the block. A shallow finger-grip hole is carved into each side surface. The wood is well preserved, and the metal appliqués complete and undamaged.

Each part of the double block had been inventoried as a separate object. The block was used for the two-color printing of borders, and the patterns of both parts complement and cover each other.


26

PRINTING BLOCK / unknown / hardwood and iron / w – 21 cm, l – 28.5 cm, h – 2.3 cm / sl. no. 4276 / inv. no. 1744 / old inv. no. 2919. In the Carniolan Provincial Museum’s inventory book this object was marked as a textile design form and dated 1711.

The block consists of a wooden board with a carved plant pattern of two large flowers with larger and smaller leaves. The spaces between the carved motifs are filled with tiny and thicker iron pins. A semicircular finger-grip hole is carved into the reverse side of the board. Iron pins forming an indistinct number (1311) are driven into the base surface of the board. The entire block is slightly convex, and pieces have crumbled away in the corners. The wood on the reverse side is partly worm-eaten. The tiny iron pins are mostly rusty and therefore damaged.

Even though the number on the frontal surface of the block was entered as 1711 in the Carniolan Provincial Museum inventory book, this cannot be reliably confirmed.


27

PRINTING BLOCK / Škofja Loka / hardwood and brass / w – 20.5 cm, l – 20 cm, h – 5.4 cm / sl. no. 4277 / inv. no. 1745 / old inv. no. 6483.

Same manner of acquisition as under cat. no. 1. The block consists of a wooden board, with thin round and thicker square brass pins forming a meandering or labyrinthine design. Two brass pitch pins are driven into two corners of the block; a pin is missing in another corner. A finger-grip hole is carved into each side surface of the block. The number 39 is hand-written in white on one frontal surface. The wooden part of the block is well preserved; several brass pins have broken off.

An identical pattern is printed on the textile under cat. no. 150/detail 75.


28

PRINTING BLOCK / Škofja Loka / hard and soft wood, brass / w – 17.5 cm, l – 21.5 cm, h – 6.3 cm / sl. no. 4278 / inv. no. 1746 / old inv. no. 6488. Same manner of acquisition as under cat. no. 1. The block consists of a wooden board, with brass pins, plates and strips forming a stylized plant pattern with rhomboid-shaped small leaves. In the middle of each rhomboidal area is a small appliquéd decoration (it might be a stylized fruit) made from two moon-shaped brass plates inlaid with wood. Grain-shaped brass plugs with a wooden inlay connect the intersections between the rhomboidal areas. Brass pitch pins are driven into three corners of the block. A pine board, with a carved finger-grip hole in each side surface, is nailed onto the reverse side of the block. The number 52 is hand-written in white on one frontal surface of the block. The wood is well preserved and the metal appliqués undamaged; the entire length of the base surface is cracked.

An identical pattern is printed on the textile under cat. no. 150/detail 52.


29

PRINTING BLOCK / Škofja Loka / hardwood and brass / w – 18.5 cm, l – 21.5 cm, h – 6.3 cm / sl. no. 4279 / inv. no. 1747 / old inv. no. 6489.

Same manner of acquisition as under cat. no. 1. The block consists of a wooden board, with tiny round and grain-shaped brass pins forming a geometrical/plant pattern. The round pins are arranged in two parallel diagonal rows so that they form rhomboidal areas. Three grain-shaped pins, which form a leaf, are appliquéd in the middle of each rhomboidal area. Brass pitch rings are driven into three corners and one side surface of the block. A finger-grip hole is carved into each side surface. The number 58 is hand-written in white on one frontal surface of the block. The wooden and metal parts are well preserved.

An identical pattern is printed on the textile under cat. no. 150/detail 58.


30

PRINTING BLOCK / Škofja Loka / hard and soft wood, brass / w – 18 cm, l – 21 cm, h – 5.2 cm / sl. no. 4280 / inv. no. 1748 / old inv. no. 6487.

Same manner of acquisition as under cat. no. 1. The block consists of a wooden board, with brass plates forming a geometrical pattern. Each element on the block consists of two crescent plates facing each other with a shift, forming a motif of two semicircles. The motif is repeated on the base surface in parallel, shifted lines. Brass pitch pins are driven into four corners of the block. A pine board, with a finger-grip hole in each side surface, is nailed onto the reverse side of the block. The number 11 is hand-written in white on one frontal surface of the block, and the number 4, made from hammered-in brass strips, on the other. The wood is cracked in one corner and fastened onto the pine base with four nails. The metal appliqués are undamaged.

An identical pattern is printed on the textile under cat. no. 150/detail 57.


31

PRINTING BLOCK / Motnik / hardwood / w – 15 cm, l – 20.5 cm, h – 4.8 cm / sl. no. 4281 / inv. no. 2073.

The SEM purchased this block from Albert Korinšek of Ljubljana before World War II. The floral pattern on the block is carved from a wooden board. Its decoration consists of eight interlaced flowers with three leaves and stalks each. The flowers are arranged on the base surface in parallel, shifted rows. The block has no pitch pins. A finger-grip hole is carved into each side surface. The wood is well preserved; the flower stalks are partly broken. As with similar wooden blocks, this could be one part of a double block.


32

PRINTING BLOCK / Motnik / hardwood and brass / w – 17 cm, 1–18.5 cm, h – 4.3 cm / sl. no. 4282 / inv. no. 2074.

Same manner of acquisition as under cat. no. 31. The block consists of a wooden board, with brass pins, plates and strips forming a plant pattern. Metal appliqués form a tiny motif of sprigs with leaves. Two leaves in the ornament have a partial wooden inlay. The motifs are arranged on the base surface of the block in parallel, shifted rows so that the spaces between individual elements form a rhomboidal pattern. Brass pitch pins are driven into three corners of the block; one of the pins on the edge of a side surface is missing. A finger-grip hole is carved into each side surface. The number 20 is hand-written in black on both frontal surfaces of the block. The wood is well preserved and the appliqués complete.


33

PRINTING BLOCK / Motnik / hardwood and brass / w – 16 cm, l – 19 cm, h – 2.7 cm / sl. no. 4283 / inv. no. 2075.

Same manner of acquisition as under cat. no. 31. The block consists of a wooden board, with brass pins and squares forming a geometrical pattern. Round pins are arranged in a square, which consists of four smaller squares. The larger squares are arranged in parallel rows throughout the entire width of the block. Small brass square cones in equally parallel rows are driven between the square lines. The cones have a wooden inlay. Brass pitch pins are driven into three corners of the block. There was probably another wooden board nailed onto the reverse side of the base board, but it is now missing. The wood is well preserved. The pins which form the ornament are mostly bent or even missing.


34

PRINTING BLOCK / Vitanje / hardwood and brass / w – 5 cm, l – 23.7 cm, h – 4.8 cm / sl. no. 4284 / inv. no. 9513.

The SEM bought this printing block from Alojz Hofbauer of Vitanje in 1963. It was used in Hofbauer’s dye works, which was still in operation in the first decade of the 20th century.

Pins, strips and plates on the wooden block form a geometric design. Round and grain-shaped pins of differing thicknesses form wavy lines. The block also has three complete and two semi-triangular forms. The entire composition is bordered by two rows of densely nailed round pins. Two lines, which had not been filled with a brass ribbon, are carved into the edge along the entire length of the block. Two pitch pins, now missing, had been driven into two corners of the block. The number 10 is hand-written in white on one frontal surface of the block. The wood is well preserved and the metal appliqués complete.


35

PRINTING BLOCK / Vitanje / hardwood and brass / w – 5.7 cm, l – 21.5 cm, h – 5.3 cm / sl. no. 4285 / inv. no. 9514.

Same manner of acquisition as under cat. no. 34. Pins, strips and cones on the wooden block form a geometric and stylized floral pattern. Metal appliqués form two rows of meandering ornamentation, with dotted spaces and two different rosette motifs in a row which alternate between the meandering pattern. A row of star-shaped pins is driven along one side of the block. Two lines not inlaid with an appliqué are carved into the entire length of the base surface. A shallow finger-grip hole is carved into each side surface of the block. The number 25 is hand-written in white on one frontal surface. The wood is well preserved and the metal appliqués complete. As a preventive measure, one corner of the block has been strengthened with a brass ribbon.


36

PRINTING BLOCK / hardwood and brass / w – 18 cm, l – 21 cm, h – 6 cm / sl. no. 4286 / inv. no. 9515.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass pins and plates forming a geometric design. Each motif consists of two oval pins and two plates bent to form the letter s. The pattern is arranged in parallel, shifted rows with lines of round pins between them. There are visible traces of a dotted pattern, which was not executed, on the base surface of the block. Brass pitch pins are driven into four corners of the block. A finger-grip hole is carved into each side surface. The number 207 is stencilled in white on one frontal surface; the number 228 is hand-written in white on the other. The wood is slightly worm-eaten; most of the metal appliqués are preserved.


37

PRINTING BLOCK / Vitanje / hardwood and brass / w – 17 cm, l – 21.2 cm, h – 4.5 cm / sl. no. 4287 / inv. no. 9516.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass pins and plates forming a tiny geometric design. Each motif consists of two round pins and two plates bent to form the letter s. The pattern is arranged in parallel, shifted rows. Brass pitch pins are driven into three corners of the block. A finger-grip hole is carved into each side surface. The number 57 is stencilled in white on one frontal surface; the number 356 is hand-written in white on the other. The wood is slightly worm-eaten; the metal appliqués are complete.


38

PRINTING BLOCK / Vitanje / hardwood / w – 15.7 cm, l – 24 cm, h – 6 cm / sl. no. 4288 / inv. no. 9517.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board with a carved geometric design. The motif of four-pointed stars on the base surface is arranged in intersecting diagonal rows so that they form rhomboidal areas. Brass pitch pins are driven into four corners of the block and into the edges of both side surfaces. A shallow finger-grip hole is carved into each side surface. The number 152 is hand-written in white on one frontal surface of the block; on the other frontal surface there is the number 182 hand-written in white and, above it, the number 226 stencilled in black. The wood is slightly worm-eaten, and the ornament partly damaged or broken off.


39

PRINTING BLOCK / Vitanje / hardwood and brass / w – 18 cm, l – 21.8 cm, h – 5.2 cm / sl. no. 4289 / inv. no. 9518.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass plates forming a geometric design. Rhomboidal plates are driven in parallel, shifted rows; the appliqués face the same direction in alternate rows. Brass pitch pins, now missing, had been driven into three corners of the block. A finger-grip hole is carved into each side surface. The number 97 is stencilled in white on one frontal surface. The wood is poorly preserved and worm-eaten, and several metal plates are missing.


40

PRINTING BLOCK / Vitanje / hardwood and brass / w – 17 cm, l – 20.5 cm, h – 5 cm / sl. no. 4290 / inv. no. 9519.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass pins and plates forming a stylized sprig with leaves and blooms. The design on the base surface is arranged in parallel rows, with squares in between. Since alternate rows were not inlaid with appliqués, the pattern was not done according to the design on the base surface. Two brass pitch pins are driven into two corners of the block; one pin is missing. A finger-grip hole is carved into each side surface. The number 50 is hand-written in white on one frontal side of the block; the number 170 is stencilled in white on the other. The wood is well preserved; the appliqués are partly damaged.


41

PRINTING BLOCK / Vitanje / hard and soft wood, brass / w – 18.5 cm, l – 21.3 cm, h – 5.8 cm / sl. no. 4291 / inv. no. 9520.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass plates forming a dense geometric design. Rhomboidal plates are nailed into parallel, shifted rows; the appliqués in alternate rows face the same direction. Brass pitch pins are nailed into three corners and the edge of a side surface. A pine board, with a finger-grip hole in each side surface, is nailed onto the reverse side of the base surface. The number 164 is hand-written in white on one frontal surface of the block; the number 206 is stencilled in white above it. The wood and the metal appliqués are well preserved.

An identical pattern is printed on the textiles under cat. nos. 155 and 159.


42

PRINTING BLOCK / Vitanje / hardwood and brass / w – 18.3 cm, l – 23.3 cm, h – 5 cm / sl. no. 4292 / inv. no. 9521.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass pins and plates forming a tiny stylized plant and geometric design. Two different motifs alternate in parallel rows. Brass pitch pins are nailed into three corners of the block. Two finger-grip holes are carved into the reverse side of a pine board. The number 170 is hand-written in white on one frontal surface of the block; the number 22 is stencilled in white on the other. The wood is poorly preserved and worm-eaten. The metal appliqués are incomplete.


43

PRINTING BLOCK / Vitanje / hardwood and brass / w – 18.3 cm, l – 23.7 cm, h – 5.2 cm / sl. no. 4293 / inv. no. 9522.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass pins forming a geometric design. Round and triangular pins form a motif of two isosceles triangles facing each other, between four dotted elements. The pattern is arranged in parallel, shifted rows. Brass pitch pins are driven into three corners of the block. Two finger-grip holes are carved into the reverse side of the board. The number 172 is hand-written in white on one frontal surface of the block; the number 212 is stencilled in white on the other. The wood is worm-eaten; the metal appliqués are complete.


44

PRINTING BLOCK / Vitanje / hardwood and brass / w – 19.5 cm, l – 23.5 cm, h – 5.7 cm / sl. no. 4294 / inv. no. 9523.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with round and oval brass pins forming a symmetrical (mirror) design with six petals. The design is arranged on the base surface of the block in six rows. Alternate patterns in each row alternate by 90 degrees. Two additional pine boards are fastened onto the reverse side of the base surface, and two finger-grip holes are carved into the lower one. The wood is poorly preserved, the base board is cracked in places, and one corner is missing. The metal appliqués are incomplete. The two pine boards are poorly preserved.


45

PRINTING BLOCK / Vitanje / hard and soft wood / w – 15.5 cm, l – 18 cm, h – 5 cm / sl. no. 4295 / inv. no. 9524.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board with twelve carved stylized rosettes, each with six petals. The rosettes are arranged in four parallel, shifted rows. Brass pitch pins are driven into three corners of the block. A pine board with two sawn-out finger-grip holes is fastened onto the reverse side of the base board. The numbers 28 and 27 are hand-written in white on one side surface; the number 60 is stencilled in white on the other. The board is well preserved, but the design is partly damaged. Since the composition of the motif seems incomplete, the block could be part of a double block similar to that under cat. no. 54.


46

PRINTING BLOCK / Vitanje / hardwood and brass / w – 17.5 cm, l – 20 cm, h – 4.3 cm / sl. no. 4296 / inv. no. 9525.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with round brass pins forming a dotted design. The design is arranged in parallel rows along the entire length of the block. Each pattern is composed of three pins driven into the wood next to each other. Two brass pitch pins are driven into two corners of the block; one pin is missing in another. A finger-grip hole is carved into each side surface. The number 211 is hand-written in white on one frontal surface of the block; the number 140 is stencilled in white above it. The wood is worm-eaten; the metal appliqués are mostly intact.


47

PRINTING BLOCK / Vitanje / hardwood and brass / w – 17.3 cm, l – 21 cm, h – 5.8 cm / sl. no. 4297 / inv. no. 9526.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with round brass pins forming a dotted design unevenly distributed across the entire surface. Brass pitch pins are driven into three corners of the block. A finger-grip hole is carved into each side surface. The number 345 is hand-written in white on one frontal surface; the number 120 is stencilled in white on the other. The wood is well preserved and the metal appliqués complete.


48

PRINTING BLOCK / Vitanje / hardwood and brass / w – 18.6 cm, l – 23 cm, h – 3.8 cm / sl. no. 4298 / inv. no. 9527.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with round and semicircular brass pins forming a tiny dotted design arranged in parallel, shifted rows. Each motif consists of four semicircular and ten round pins arranged in a round pattern. Brass pitch pins are driven into three corners of the block. A finger-grip hole is carved into each side surface. The number 354 is hand-written in white on one frontal surface of the block; the number 178 is stencilled in white above it. The wood is worm-eaten and the metal appliqués damaged.


49

PRINTING BLOCK / Vitanje / hardwood and brass / w – 18 cm, l – 21 cm, h – 4 cm / sl. no. 4299 / inv. no. 9528.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass cones, inlaid with wood, forming a dotted design. The design is arranged in parallel, shifted rows throughout the entire surface of the block. Brass pitch pins are driven into three corners of the block. A finger-grip hole is carved into each side surface of the block. The number 224 is hand-written in white on one frontal surface of the block; the number 126 is stencilled in white above it. The wood is worm-eaten; the pattern is complete.

An identical pattern is printed on the textile under cat. no. 153.


50

PRINTING BLOCK / Vitanje / hardwood and brass / w – 18.3 cm, l – 20 cm, h – 5.6 cm / sl. no. 4300 / inv. no. 9529.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with round brass pins forming a dense dotted design. The design is arranged on the base surface in parallel, shifted rows; every second pin in alternate rows is omitted. Brass pitch pins are driven into three corners of the block; a pin is missing in one corner. A finger-grip hole is carved into each side surface. The wood is worm-eaten; the metal appliqués are complete.


51

PRINTING BLOCK / Vitanje / hardwood and brass / w – 16.5 cm, d – 20.2 cm, h – 4 cm / sl. no. 4301 / inv. no. 9530.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass pins, strips and plates forming two geometric and two stylized plant patterns. The metal appliqués are arranged in four parallel rows so that the geometric and plant designs alternate. Wood is inserted between the plates of the plant design. The block’s pitch pins have not been preserved. A finger-grip hole is carved into each side surface. Two illegible numbers are written in white on one frontal surface of the block (one hand-written, the other stencilled). The wood is worm-eaten, and part of the block is missing.


52

PRINTING BLOCK / Vitanje / hardwood and brass / w – 19 cm, l – 24 cm, h – 5.8 cm / sl. no. 4302 / inv. no. 9531.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass pins and plates forming a stylized bloom made of four plates and five pins. The design is arranged in parallel, shifted rows. Brass pitch pins are driven into three sides of the block. A finger-grip hole is carved into each side surface. The number 164 is stencilled in white on one frontal surface of the block. The wood is worm-eaten and the metal appliqués partly missing.

An identical pattern is printed on the textiles under cat. nos. 156 and 158.


53

PRINTING BLOCK / Vitanje / hardwood and brass / w – 4.8 cm, 1–21 cm, h – 4.5 cm / sl. no. 4303 / inv. no. 9532.

Same manner of acquisition as under cat. no. 34. Brass pins, plates and strips on the wooden block form a geometrical design. The motif, which is repeated twelve times, consists of symmetrically driven, triangular, grain-shaped pins, and slightly bent semicircular plates surrounded by an oval strip. On the upper and lower side of the block is a row of plates bent in a semicircle, and round pins. Two brass pitch pins are driven into two corners of the block. A shallow finger-grip hole is carved into each side surface. The wood is well preserved and the metal appliqués complete.

An identical pattern is printed on the textiles under cat. nos. 151 and 160.


54

PRINTING BLOCK / Vitanje / hard and soft wood, brass / w – 16.5 cm, l – 20.5 cm, h – 5.8 cm / sl. no. 4304 / inv. no. 9533.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass pins forming a dotted design. The design is arranged in parallel, shifted rows. Brass pitch pins are driven into three corners of the block. A pine board with two sawn-out finger-grip holes is nailed onto the base board. The number 26 is hand-written in white on one frontal surface, the number 26 in white on the other. The number 55 is stencilled in white above the latter. The wood is worm-eaten; the metal appliqués are complete and intact. Since the composition of the motif seems incomplete, the block could be part of a double block similar to that under cat. no. 45.


55

PRINTING BLOCK / Vitanje / hard and soft wood, brass / w – 19 cm, l – 21 cm, h – 6.5 cm / sl. no. 4305 / inv. no. 9534.

Same manner of acquisition as under cat. no. 34. The block is made from a wooden board with round brass pins. The motif consists of two thinner and two thicker pins forming a tiny rhomboidal pattern in parallel, shifted rows. Brass pitch pins are driven into three corners of the block. A pine board with two finger-grip holes is nailed onto the reverse side of the base board. The number 127 is hand-written in white on one frontal surface; the number 255 is stencilled in white on the other. The wood and the metal appliqués are well preserved.


56

PRINTING BLOCK / Vitanje / hardwood and brass / w – 17 cm, d – 20 cm, h – 4 cm / sl. no. 4306 / inv. no. 9535.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with thicker round brass pins forming a dotted pattern. The pins are arranged in parallel, shifted rows. Brass pitch pins are driven into three corners of the block. A finger-grip hole is carved into each side surface. The number 2 is hand-written in white on one frontal surface; the number 135 is stencilled in white on the other. The wood is worm-eaten; the pins are well preserved.


57

PRINTING BLOCK / Vitanje / hardwood and brass / w – 19 cm, l – 25 cm, h – 5.2 cm / sl. no. 4307 / inv. no. 9536.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with thicker round brass pins forming a dense dotted pattern. The pins are arranged in parallel, shifted rows. Two brass pitch pins are driven into two corners; another pitch pin is missing. A finger-grip hole is carved into each side surface, and the numbers on both frontal surfaces have been erased. The wood is well preserved and the metal appliqués complete.

An identical pattern is printed on the textile under cat. no. 157.


58

PRINTING BLOCK / Vitanje / hardwood and brass / w – 17 cm, l – 21 cm, h – 4.3 cm / sl. no. 4308 / inv. no. 9537.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass pins and plates forming a floral design with leaves. The motif consists of a round pin, two grain-shaped pins and a bent plate. The appliqués form a small flower with a stalk. The design is arranged in parallel, shifted rows. Two brass pitch pins are driven into two corners of the block; a pin is missing in one corner. A finger-grip hole is carved into each side surface. The number 233 is hand-written in white on one frontal surface of the block. The wood is worm-eaten, part of the block is missing, and the metal appliqués are incomplete.


59

PRINTING BLOCK / Vitanje / hardwood, brass and iron / w – 19 cm, l – 18.5 cm, h – 3.8 cm / sl. no. 4309 / inv. no. 9538.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with pins forming a stylized floral design. The motif consists of a thicker iron pin, with thinner brass pins driven around it. The pattern is arranged in parallel, shifted rows. Brass pitch pins are driven into three corners of the block. A finger-grip hole is carved into each side surface. The number 67 is hand-written in white on one frontal surface; the number 13 is stencilled in white on the other. The wood is cracked, and one corner is strengthened with a brass ribbon. The metal appliqués are intact.


60

PRINTING BLOCK / Vitanje / hard and soft wood, brass / w – 19.5 cm, l – 24.5 cm, h – 6.7 cm / sl. no. 4310 / inv. no. 9540.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with round and oval brass pins forming a dotted pattern. Pairs of oval brass pins are driven into parallel, shifted rows, with round pins nailed between them. Brass pitch pins are driven into three corners of the block. A pine board with two sawn-out finger-grip holes is nailed onto the reverse side of the base board. The number 19 is hand-written in white on one side surface; the Roman numeral III is stencilled in white on the other. The wood is worm-eaten; the metal appliqués are complete.


61

PRINTING BLOCK / Vitanje / hardwood and brass / w – 16.5 cm, l – 20 cm, h – 2.5 cm / sl. no. 4311 / inv. no. 9541.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass pins and plates forming a plant pattern. The floral motif consists of pins and a bent plate. The pattern is arranged in parallel rows. The design clearly shows that the pattern was originally designed to be denser, but alternate (shifted) rows were not inlaid with brass appliqués. The pitch pins are missing. Another hardwood board with two finger-grip holes is nailed onto the reverse side of the base board. The number 279 is hand-written in white on one frontal surface; the number 139 is stencilled in white on the other. The wood is worm-eaten, and several appliqués are incomplete and damaged.


62

PRINTING BLOCK / Vitanje / hardwood and brass / w – 16 cm, l – 19 cm, h – 4.8 cm / sl. no. 4312 / inv. no. 9542.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with round brass pins forming a tiny dotted design. The motif consists of three thinner pins driven above a thicker one in a semicircle. The pattern is arranged in parallel, shifted rows. Brass pitch pins are driven into three corners of the block. A finger-grip hole is carved into each side surface. The number 297 is hand-written in white on one frontal surface; the number 121 is stencilled in white above it. The wood is worm-eaten, and the metal appliqués are incomplete and damaged.


63

PRINTING BLOCK / Vitanje / hardwood and brass / w – 2.2 cm, l – 27 cm, h – 4 cm / sl. no. 4313 / inv. no. 9544.

Same manner of acquisition as under cat. no. 34. Brass pins and plates forming a plant pattern are driven into a wooden block. A double zigzag ornament filled with round brass pins is carved from the wooden base along the entire length of the block. In spaces next to the wooden ornament, metal appliqués form sprigs with leaves and tiny blooms. Two brass pitch pins are driven into two corners of the block. A finger-grip hole is carved into each side surface. The wood is worm-eaten and the carved ornament worn out. Most metal appliqués are preserved.


64

PRINTING BLOCK / Vitanje / hardwood and brass / w – 19.5 cm, l – 22.7 cm, h – 4.5 cm / sl. no. 4314 / inv. no. 9545.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass pins, plates and strips forming a plant pattern. Tiny pins driven into the wood in meandering form link a motif of two sprigs. The design is arranged in parallel rows separated by a string of five brass strips with round pins among them. Brass pitch pins are driven into three corners of the block. A finger-grip hole is carved into each side surface. An almost illegible number 128, with the stencilled white number 253 above it, is hand-written in white on one frontal surface of the block; a completely illegible number is written on the other. The wood is well preserved and the metal appliqués complete.


65

PRINTING BLOCK / Vitanje / wood / w – 21 cm, l – 26 cm, h – 3.3 cm / sl. no. 4315 / inv. no. 9546.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board with a carved plant design. The motif, symmetrically arranged on the base board, consists of the central voluted area. Curved patterns and stylized leaves, arranged in two rows in the shape of a fan, spread out on each side of it. Two stylized plant or floral patterns are carved into both ends of the block. The block has two brass pitch pins. The wood is poorly preserved and worm-eaten, and the design damaged.


66

PRINTING BLOCK / Vitanje / hardwood and brass / w – 20 cm, l – 23 cm, h – 5.5 cm / sl. no. 4316 / inv. no. 9547.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with differently-shaped brass pins in plates forming a plant design. The motifs of interlaced tendrils with tiny flowers and the motifs of a sprig with leaves on the base surface of the block are repeated in parallel, shifted rows. Brass pitch pins are driven into three corners of the block and the edge of a side surface. A finger-grip hole is carved into each side surface. The number 113 is stencilled in white on one frontal surface of the block. The wood is well preserved and the metal appliqués complete. The motif on the block is identical to that under cat. no. 12.

An identical pattern is printed on the textiles under cat. nos. 154, 163 and 164.


67

PRINTING BLOCK / Vitanje / hardwood, brass and iron / w – 15.5 cm, l – 18 cm, v – 4.5 cm / sl. no. 4317 / inv. no. 9548.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with pins and plates forming a stylized plant pattern. The motif consists of three iron pins forming a triangle, and a brass plate. The design is arranged in parallel, shifted rows. A brass pitch pin is driven into one corner of the block; two pins are missing. Two finger-grip holes are carved into the reverse surface of the block. The number 53 is hand-written in white on one frontal surface of the block; the number 49 is stencilled in white on the other. The wood is damaged and the metal appliqués incomplete.


68

PRINTING BLOCK / Vitanje / hard, soft wood and brass / w – 16.5 cm, l – 17.5 cm, h – 3.8 cm / sl. no. 4318 / inv. no. 9549.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass plates forming a geometric design. The motif consists of two shorter parallel plates, with a longer one between them. The pattern is arranged in parallel, shifted rows, facing the opposite direction in alternate rows. A pine board is fastened onto the reverse side of the base board. Another board, with two finger-grip holes carved into it, was probably fastened onto it. The wood is poorly preserved; a quarter of the block is missing. The remaining metal appliqués are complete and intact.


69

PRINTING BLOCK / Vitanje / hardwood and brass / w – 2.8 cm, l – 25.3 cm, h – 2.8 cm / sl. no. 4319 / inv. no. 9550.

Same manner of acquisition as under cat. no. 34. The wooden block has a tiny stylized floral design carved into it. The design is supplemented by brass pins and plates forming tendrils and leaves. The block was used for printing borders. The wooden parts of the design are worn out and therefore lower than the metal appliqués. The wood is worm-eaten and cracked; the metal appliqués and the carved ornament are poorly preserved and incomplete.


70

PRINTING BLOCK / Vitanje / hard and soft wood, brass / w – 19 cm, l – 18 cm, h – 5.2 cm / sl. no. 4320 / inv. no. 9551.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass pins, plates and strips forming a complex floral design. Metal appliqués form tiny stylized flowers with stalks, leaves and tendrils, and larger bell-shaped blooms. The composition consists of two identical plant arrangements positioned parallelly along the whole length of the base surface. Brass pitch pins are driven into four corners of the block. A pine board with two finger-grip holes is fastened onto the reverse side of the base board. The number 147 is hand-written in red on one frontal surface of the block; the number 118 is hand-written in white on the other. The number 103 is stencilled in white above the number 118; the number 125 is hand-written in white next to 118 and 103. The wood is well preserved and the metal appliqués complete.


71

PRINTING BLOCK / Vitanje / hardwood and brass / w – 21.5 cm, l – 22.5 cm, h – 5.4 cm / sl. no. 4321 / inv. no. 9552.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass pins and strips forming a ramified plant pattern. Wavy brass plates form the motif of a sprig, arranged on the block in equal intervals. The blooms formed by plates and pins are arranged in parallel, shifted rows. Brass pitch pins are driven into three corners of the block. A finger-grip hole is carved into each side surface. The number 136 is hand-written in white on one frontal surface of the block; the number 168 is hand-written in white on the other. The number 252 is stencilled in white above 168. The wood is worm-eaten; the metal appliqués are intact.


72

PRINTING BLOCK / Vitanje / hardwood and brass / w – 18 cm, l – 20.5 cm, h – 4 cm / sl. no. 4322 / inv. no. 9553.

Same manner of acquisition as under cat. no. 34. The block consists of a board, with brass pins and plates forming a stylized floral design. The motif consists of plates forming a cross; the spaces between its sides are filled with tiny round pins. The pattern is arranged in parallel, shifted rows. The base board bears traces of parallel wavy lines which were not executed. Brass pitch pins are driven into three corners of the block. A finger-grip hole is carved into each side surface of the block. The number 261 is hand-written in white on one frontal surface; the number 65 is stencilled in white above it. The wood is worm-eaten; the metal appliqués are almost intact.


73

PRINTING BLOCK / Vitanje / hardwood and brass / w – 18 cm, l – 20 cm, h – 5.6 cm / sl. no. 4323 / inv. no. 9554.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with tear-shaped brass pins, plates and strips forming a plant design. Metal appliqués form the motif of stylized plants with sprigs and tiny bell-shaped flowers. The flowers are inlaid with wood. The pattern is arranged on the base surface in four parallel, shifted rows. Two brass pins are driven into two corners of the block; a pin is missing in one corner. A finger-grip hole is carved into each side surface. The wood is well preserved and partly cracked; the metal appliqués are complete.


74

PRINTING BLOCK / Vitanje / hardwood and brass / w – 18.5 cm, l – 20.3 cm, h – 2 cm / sl. no. 4324 / inv. no. 9555.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass pins and strips forming a floral design. The floral motif, consisting of a stalk with three leaves and a bloom, is made of round and grain-shaped pins arranged in parallel, shifted rows. Two brass pitch pins are driven into two corners of the block; a pitch pin is missing in one corner. Another board had been fastened on the reverse side but is now missing. The wood is slightly worm-eaten and the board partly cracked. The metal appliqués are well preserved.


75

PRINTING BLOCK / Vitanje / wood and brass / w – 19 cm, l – 20 cm, h – 4 cm / sl. no. 4325 / inv. no. 9556.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass plates and strips forming a plant design. Metal appliqués form the motif of a coniferous twig. The pattern is arranged in parallel, shifted rows. Brass pitch pins are driven into four corners of the block. A finger-grip hole is carved into each side surface of the block. The number 249 is hand-written in white on one frontal surface of the block; the number 177 is stencilled in white on the other. The wood is worm-eaten; the metal appliqués are complete.


76

PRINTING BLOCK / Vitanje / hardwood and brass / w – 17.5 cm, l – 20.5 cm, h – 4 cm / sl. no. 4326 / inv. no. 9557.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with semicircular brass pins forming a geometrical design. The motif consists of two semicircular pins forming a circle divided in half. The pattern is arranged in parallel, shifted rows. Brass pitch pins are driven into three corners of the block. A finger-grip hole is carved into each side surface. The number 203 is hand-written in white on one frontal surface; the number 100 is stencilled in white above it. The wood is worm-eaten; the metal appliqués are complete.


77

PRINTING BLOCK / Vitanje / hardwood and brass / w – 16.5 cm, l – 20.5 cm, h – 5 cm / sl. no. 4327 / inv. no. 9558.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass pins forming a geometric design. The motif consists of five pins of differing thicknesses nailed in a row. The pattern is arranged in twelve parallel, shifted rows. Brass pitch pins are driven into three corners of the block. A finger-grip hole is carved into each side surface. The number 221 is stencilled in white on one frontal surface of the block. The wood is well preserved and the metal appliqués intact.


78

PRINTING BLOCK / Vitanje / hard and soft wood, brass / w – 18 cm, l – 25.5 cm, h – 5.3 cm / sl. no. 4328 / inv. no. 9559.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass pins forming a stylized floral motif. The motif consists of a larger, grain-shaped pin, with smaller round and tear-shaped pins nailed around it. This pattern is arranged in ten parallel, shifted rows. Brass pitch pins are driven into three corners of the block. A pine board, with a finger-grip hole in each side surface, is screwed onto the reverse side of the base board. The number 5 is hand-written in white on one frontal surface of the block. The wood is worm-eaten, a corner is damaged, and several pins are missing.


79

PRINTING BLOCK, double / Vitanje /

a – hardwood and brass / w – 6 cm, l – 24.3 cm, h – 4.7 cm / sl. no. 4329 / inv. no. 9560.

b – hardwood and brass / w – 5.7 cm, l – 24 cm, h – 4.6 cm / sl. no. 4330 / inv. no. 9588.

Same manner of acquisition as under cat. no. 34.

a – Brass pins forming a geometrical design are nailed into a hardwood block. The composition consists of interlaced larger and smaller rhomboidal spaces bordered by dotted lines formed by tiny round pins. Thicker round pins are appliquéd at the intersections of the lines. The motif consists of two identical geometric patterns. Brass pitch pins are driven into all four corners of the block. A shallow finger-grip hole is carved into each side surface. The wood is well preserved and slightly worm-eaten. The metal appliqués are complete and only partly damaged.

b – The second part consists of another wooden block, with brass pins forming a geometrical design. The motif consists of pins of an even thickness, which form different geometrical shapes, complementing all the empty spaces in the first part of the block. The composition of the second part of this double block thus complements the first. A shallow finger-grip hole is carved into each side surface. Two brass pitch pins are driven into two corners of the block; the two pins in the other two corners are missing. The entire block is bent and the wood worm-eaten; half of its reverse side is destroyed. The metal appliqués are incomplete and damaged.

Each part of the double block had been inventoried as a separate object. The block was used for the two-color printing of borders, and the patterns of both parts complement and cover each other.


80

PRINTING BLOCK / Vitanje / hard and soft wood, brass / w – 19.5 cm, l – 21.5 cm, h – 6.5 cm / sl. no. 4331 / inv. no. 9561.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass pins forming a geometrical design. The motif consists of three grain-shaped and two round pins, all of which form a rhomboidal pattern. This pattern is arranged in twelve parallel, shifted rows. Brass pitch pins are driven into three corners of the block. A pine board with two sawn-out finger-grip holes is nailed onto the reverse side of the block. The number 161 is hand-written in white on one side surface of the block; the number 159 is stencilled in white on the other. The wood is worm-eaten; the metal appliqués are complete.


81

PRINTING BLOCK / Vitanje / hardwood and brass / w – 18 cm, l – 19.5 cm, h – 5 cm / sl. no. 4332 / inv. no. 9562.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass pins, plates and strips forming a stylized floral design. Two floral motifs alternate in parallel rows within the square spaces formed by the pins. These two motifs consist of plates, thicker and thinner round pins, and tear- and grain-shaped pins. A finger-grip hole is carved into each side surface of the block. The number 180 is hand-written in white on one frontal surface of the block. The number 154 is hand-written in white on the other, with the number 180 hand-written in red above it. The wood is worm-eaten; the metal appliqués are complete.


82

PRINTING BLOCK / Vitanje / hardwood and brass / w – 18 cm, l – 21.5 cm, h – 4.7 cm / sl. no. 4333 / inv. no. 9563.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass pins forming a geometrical design. The basic square pattern is made of smaller squares (forming corners) and small lines representing the linking sides. In the middle of the pattern is a star-shaped pin. Brass pitch pins are driven into three corners and an edge of the block. A finger-grip hole is carved into each side surface of the block. The number 160 is stencilled in white on one frontal surface. The wood and the metal appliqués are well preserved.


83

PRINTING BLOCK / Vitanje / hardwood and brass / w – 17 cm, l – 20 cm, h – 4.7 cm / sl. no. 4334 / inv. no. 9564.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with wood-inlaid brass rings forming a dotted design. Metal appliqués are arranged in twelve parallel, shifted rows. Two brass pitch pins are driven into two corners of the block; a pin is missing in one corner. A finger-grip hole is carved into each side surface of the block. The number 15 is hand-written in white, with the number 162 stencilled in white above it, on one frontal surface of the block; the numbers 15 and 131 are hand-written in white on the other. The wood is worm-eaten and the board partly cracked. The metal appliqués are intact.


84

PRINTING BLOCK / Vitanje / hardwood and brass / w – 17 cm, l – 18.5 cm, h – 5.8 cm / sl. no. 4335 / inv. no. 9565.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass pins and plates forming a plant/geometric design. The motif consists of a pin in the shape of a leaf with a stem, with tiny pins thickly nailed around it in a ring. The motif is arranged in parallel, shifted rows. The spaces between individual motifs are filled with tiny round pins. Brass pitch pins are driven into three corners of the block. A finger-grip hole is carved into each side surface of the block. The number 239 is hand-written in white on one frontal surface; an illegible number is stencilled above it. The wood and the appliqués are well preserved.


85

PRINTING BLOCK / Vitanje / hard and soft wood, brass / w – 17.5 cm, l – 26 cm, h – 5.4 cm / sl. no. 4336 / inv. no. 9566.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass pins forming a geometric design. The motif, consisting of two tear-shaped pins whose wider sides face each other, is arranged in parallel, shifted rows. The base board bears clearly visible traces of a square mesh, which served as an aid for nailing the pins into the wood. Brass pitch pins are driven into three corners of the block. Two pine boards are fastened onto the reverse side of the base board; the lower one has two finger-grip holes carved into it. The Roman numeral II (or possibly the number 11) is hand-written in white on one frontal side of the block. The wood is well preserved; the pins are preserved. The motif on the block is identical to that under cat. no. 116.


86

PRINTING BLOCK / Vitanje / hard and soft wood, brass / w – 20 cm, l – 20 cm, h – 6 cm / sl. no. 4337 / inv. no. 9567.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass pins and plates forming a plant design. The motif consists of stylized larger and smaller flowers and leaves. According to the outlay of the pattern, the design is incomplete since the brass strips (plant stalks) linking individual patterns are missing. The design is arranged in parallel, shifted rows. A brass pitch pin is driven into one corner of the block; the pins in two other corners are missing.

A pine board with two sawn-out finger-grip holes is fastened onto the reverse side of the base board. The number 130 is hand-written in white on one frontal surface of the block; the number 156 is hand-written in white on the other. The wood is well preserved, and most of the metal appliqués are undamaged.


87

PRINTING BLOCK / Vitanje / hardwood and brass / w – 19 cm, l – 20.5 cm, h – 4.6 cm / sl. no. 4338 / inv. no. 9568.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass pins and plates forming a plant/geometric design. The composition consists of square spaces arranged in eight rows in which a stylized sprig with leaves and a radial, dotted pattern alternate with each other. Two brass pitch pins are driven into two corners; one pitch pin is missing. A finger-grip hole is carved into each side surface. The number 124 is hand-written in white on one frontal surface of the block; the number 236 is stencilled in white above it. A barely visible number 148 is hand-written in red on the other. The wood and the metal appliqués are well preserved.


88

PRINTING BLOCK / Vitanje / hardwood and brass / w – 19 cm, l – 21 cm, h – 5.3 cm / sl. no. 4339 / inv. no. 9569.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass pins forming a plant design. The motif, arranged in four parallel rows, consists of a stylized flower made of radially driven-in, grain-shaped pins, and a ring filled with patterns made from round pins. Brass pitch pins are driven into three sides of the block. A finger-grip hole is carved into each side surface. The number 157 is hand-written in white on one frontal surface of the block. The wood is worm-eaten and the metal appliqués incomplete.


89

PRINTING BLOCK / Vitanje / hard wood and brass / w – 18.5 cm, l – 22 cm, h – 5.4 cm / sl. no. 4340 / inv. no. 9570.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass strips forming a geometric design. The motif consists of four wavy interlaced brass strips arranged in eight parallel, shifted rows. Two brass pitch pins are driven into two corners of the block; a pin is missing in one corner. A finger-grip hole is carved into each side surface. A barely legible number 129, hand-written in white, and the number 161 stencilled in white above it, are painted on one frontal surface of the block, with the Roman numeral III (or possibly the number 111) hand-written in white on the other. The wood is worm-eaten; the metal appliqués are preserved.


90

PRINTING BLOCK / Vitanje / wood and brass / w – 3.8 cm, l – 20 cm, h – 4.2 cm / sl. no. 4341 / inv. no. 9571.

Same manner of acquisition as under cat. no. 34. Brass pins and plates, which are driven into the wooden block, form tiny flowers, with leaves which are arranged in two parallel, shifted rows. Rows of crescent pins are appliquéd in empty spaces between the floral designs. A row of grain-shaped pins borders the pattern on the upper and lower sides. The block was used for printing borders. Two brass pitch pins are driven into two corners of the block. A shallow finger-grip hole is carved into each side surface of the block. The number 7 is hand-written in white on one frontal surface. The wood is worm-eaten and the block slightly bent. Most of the metal appliqués are intact.


91

PRINTING BLOCK / Vitanje / hardwood and brass / w – 17.5 cm, l – 21.5 cm, h – 5.5 cm / sl. no. 4342 / inv. no. 9572.

Same manner of acquisition as under cat. no. 34. The block is made from a wooden board with brass pins and plates. The motif consists of two grain-shaped pins, with a brass plate in the shape of the letter s driven between them. The design is arranged in parallel, shifted rows. Two brass pitch pins are driven into two corners of the block; a pin is missing in one corner. A finger-grip hole is carved into each side surface. The number 94 is stencilled in white on one frontal surface of the block. The wood is worm-eaten; the metal appliqués are preserved.


92

PRINTING BLOCK / Vitanje / hardwood and brass / w – 19.5 cm, l – 21.5 cm, h – 5.3 cm / sl. no. 4343 / inv. no. 9573.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass pins and plates forming a plant/geometric design. The block has two motifs: a sprig with a stylized flower and a leaf formed by grain-shaped pins and a plate; and five connecting arches formed by tiny round pins. The two alternating motifs are arranged in parallel, shifted rows. Two brass pitch pins are driven into two corners; a pin is missing in one corner. A finger-grip hole is carved into each side surface. The number 46 is hand-written in white on one frontal surface of the block; the number 62 is stencilled in white on the other. The wood is slightly worm-eaten; the metal appliqués are preserved.


93

PRINTING BLOCK / Vitanje / hardwood and brass / w – 18 cm, l – 22.5 cm, h – 5.6 cm / sl. no. 4344 / inv. no. 9574.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass pins and plates forming a plant design. The motif of a sprig with leaves is arranged in parallel, shifted rows. Brass pitch pins are driven into three corners of the block. A finger-grip hole is carved into each side surface. The number 347 is hand-written in white on one frontal surface of the block; the number 11 is stencilled in white on the other. The wood is worm-eaten; the metal appliqués are preserved.


94

PRINTING BLOCK / Vitanje / hardwood and brass / w – 20 cm, l – 21.5 cm, h – 3.2 cm / sl. no. 4345 / inv. no. 9575.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass pins and strips forming a plant design. The basic motif, arranged into parallel, shifted rows, consists of two sprigs with leaves and a snail-like pattern filled with tiny stylized flowers. Brass pitch pins are driven into three corners of the block. Another board, now missing, had been fastened onto the reverse side of the base board. The wood is slightly worm-eaten, and one part of the board is cracked. The metal appliqués are preserved.


95

PRINTING BLOCK / Vitanje / hardwood, brass and iron / w – 18.5 cm, l – 20.8 cm, h – 4.8 cm / sl. no. 4346 / inv. no. 9576.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass and iron pins of differing thicknesses forming a dense dotted design. The motif consists of a wide wavy line made of thicker iron pins in the middle and thinner brass pins towards both edges. The line is repeated in three parallel rows with identical waves. Brass pitch pins are driven into three corners of the block. A finger-grip hole is carved into each side surface. The number 144 is hand-written in white on one frontal surface of the block; the number 246 is stencilled in white on the other. The wood is preserved, though slightly worm-eaten. Several pins are bent.


96

PRINTING BLOCK / Vitanje / hardwood and brass / w – 18.3 cm, l – 23 cm, h – 5 cm / sl. no. 4347 / inv. no. 9577.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board with brass pins and plates; wooden pieces with a carved wooden sprig were inserted later. The design is arranged along the entire length of the block in eight rows so that a row of tiny floral patterns alternates with a row of the leaf pattern. Brass pitch pins are driven into four corners of the block. A finger-grip hole is carved into each side surface. The number 146, and the number 139 p alongside it, are hand-written in white on one frontal surface of the block; the number 225 is stencilled in white on the other. The wood is slightly worm-eaten; the metal appliqués are intact. One carved appliqué is missing.


97

PRINTING BLOCK / Vitanje / hardwood and brass / w – 17.8 cm, l – 20.5 cm, h – 3.7 cm / sl. no. 4348 / inv. no. 9578.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board with brass pins, strips and rings. The motif of two sprigs with leaves is made with grain-shaped pins, plates and a ring with a wooden inlay. The design is arranged in parallel, shifted rows. Brass pitch pins are driven into three corners of the block. A wooden board, now missing, had been fastened onto the reverse side of the base board. The wood is quite worm-eaten, and a corner of the block is missing.


98

PRINTING BLOCK / Vitanje / wood and brass / w – 18 cm, l – 23.8 cm, h – 5 cm / sl. no. 4349 / inv. no. 9579.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board with round brass pins, plates and wooden rhomboid appliqués. The geometric design is arranged in parallel rows. The block was probably altered (wooden appliqués might have been added later) since the surface bears clearly visible traces of work on the wooden parts. Brass pitch pins are driven into three corners of the block. Two finger-grip holes are carved into the reverse side of the block. The number 168 is hand-written in white on one frontal surface of the block; the number 256 is stencilled in white on the other. The wood is worm-eaten, and the metal pins and plates partly bent.


99

PRINTING BLOCK / Vitanje / hard and soft wood, brass / w – 19.3 cm, l – 21.4 cm, h – 6 cm / sl. no. 4350 / inv. no. 9580.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass strips and small square pipes forming a geometric design. The motif of a square pattern consists of a meandering strip, with pairs of small square pipes with wooden inlays driven into the spaces between the meanders. Brass pitch pins are driven into three corners and a side surface of the block. A pine board, with two sawn-out finger-grip holes, is nailed onto the reverse side of the base board. The number 162 is hand-written in white on one frontal surface of the block; the number 224 is stencilled in white on the other. The wood is worm-eaten; the metal parts are undamaged.


100

PRINTING BLOCK / Vitanje / hardwood and brass / w – 17.7 cm, l – 19.5 cm, h – 4 cm / sl. no. 4351 / inv. no. 9581.

Same manner of acquisition as under cat. no. 34. The block is made from a wooden board with brass plates. The motif consists of three plates bent into the letter s, which are driven into the wood parallel to each other. The design is arranged into parallel, shifted rows. Brass pitch pins are nailed into three corners of the model; the pin in the fourth corner is broken off. A finger-grip hole is carved into each side surface of the block. The number 158 is stencilled in white on one frontal surface of the block; the number on the other is illegible. The wood is worm-eaten, the metal plates mostly undamaged, and several patterns are missing.


101

PRINTING BLOCK / Vitanje / hardwood and brass / w – 16.5 cm, l – 17.8 cm, h – 5 cm / sl. no. 4352 / inv. no. 9582.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass plates, strips and rings forming a geometric design. The motif consists of metal strips bent in a meandering fashion. Strips, plates and rings surrounded by a wooden inlay form the number 8 and are inserted between the meandering lines. The design on the base surface was not entirely inlaid with metal appliqués. Two brass pitch pins are driven into two corners of the block; a pin is missing in another corner. A finger-grip hole is carved into each side surface. The number 256 is hand-written in white on one frontal surface of the block; the number 66 is stencilled in white above it. The wood is well preserved and the metal parts intact.


102

PRINTING BLOCK / Vitanje / hardwood and brass / w – 20.5 cm, l – 20.5 cm, h – 4.5 cm / sl. no. 4353 / inv. no. 9583.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass strips forming a cross pattern arranged in parallel, shifted rows. Brass pitch pins are driven into four corners of the block. A finger-grip hole is carved into each side surface of the block. The number 5 is hand-written in white on each frontal side of the block; the number 181 is stencilled in white above one of them. The wood is worm-eaten, the metal appliqués well preserved, and one plate is missing.

An identical pattern is printed on the textile under cat. no. 152.


103

PRINTING BLOCK / Vitanje / hardwood and brass / w – 17.5 cm, l – 20 cm, h – 6 cm / sl. no. 4354 / inv. no. 9584.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass pins and elliptical rings inlaid with wood. The design is arranged in parallel, shifted rows. Brass pitch pins are driven into four corners of the block. A finger-grip hole is carved into each side surface of the block. The number 243 is hand-written in white on one frontal surface of the block; the number 136 is stencilled in white above it. The wood is worm-eaten and several metal appliqués have broken off. A newly-inserted wooden piece is visible on the base board.


104

PRINTING BLOCK / Vitanje / hardwood and iron / w – 16.5 cm, l – 22 cm, h – 4.8 cm / sl. no. 4355 / inv. no. 9585.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with thicker iron pins forming a dotted design. The pins are arranged in parallel, shifted rows. Brass pitch pins are driven into three corners of the block. A finger-grip hole

is carved into each side surface. The number 171 is hand-written in white on one frontal surface; the number 213 is stencilled in white on the other. The wood is slightly worm-eaten and partly cracked. The metal appliqués are complete.


105

PRINTING BLOCK / Vitanje / hardwood and brass / w – 15 cm, l – 19.7 cm, h – 5.2 cm / sl. no. 4356 / inv. no. 9586.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with round and grain-shaped brass pins forming a stylized flower. The design on the base surface is arranged in parallel, shifted rows. Clearly visible is an engraved square mesh, which served as aid for nailing pins into the wood. Brass pitch pins are driven into three corners of the block; a pin is missing in another corner. A finger-grip hole is carved into each side surface. The number 16 is hand-written in white on one frontal surface of the block; the number 202 is stencilled in white on the other. The wood is slightly worm-eaten; the metal appliqués are preserved.


106

PRINTING BLOCK / Vitanje / hard and soft, brass / w – 18 cm, l – 21.2 cm, h – 6.6 cm / sl. no. 4357 / inv. no. 9587.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass pins, plates and strips forming stylized fruits and bell-shaped flowers arranged around wavy lines in four parallel rows. Rhomboid-shaped pins are driven into the centers of the spaces between these patterns. A pine board, with two finger-grip holes sawn out, is fastened onto the reverse side of the base board. The number 128 is stencilled in white on one frontal surface of the block. The wood is worm-eaten; the metal appliqués are well preserved. Pitch pins are missing.


107

PRINTING BLOCK / Vitanje / hardwood and brass / w – 17 cm, l – 20 cm, h – 5.6 cm / sl. no. 4358 / inv. no. 9589.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board with brass pins, plates and strips. The principal motif on the block is a square, whose sides are formed by strips surrounded by pins. The corners of the square are filled with a floral pattern. A design, which was not inlaid with appliqués, is visible in the squares. Brass pitch pins are driven into three corners of the block. A finger-grip hole is carved into each side surface of the block. The number 266 is hand-written in white on one frontal surface of the block; the number 168 is stencilled in white on the other. The wood and the metal appliqués are well preserved.


108

PRINTING BLOCK / Vitanje / hard and soft wood, brass / w – 19 cm, l – 21.7 cm, h – 5.2 cm / sl. no. 4359 / inv. no. 9590.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with straight brass plates and triangular pins forming a geometric design in parallel, shifted rows. The rhomboid mesh, which served as an aid for nailing appliqués into the wood, is clearly visible. Brass pitch pins are driven into four corners of the block. A pine board with two sawn-out finger-grip holes is fastened onto the reverse side of the base board. The number 118 is hand-written in white on one frontal surface of the block; the number 133 is hand-written in red on the other. The wood is slightly worm-eaten; the metal appliqués are well preserved.


109

PRINTING BLOCK / Vitanje / hardwood and brass / w – 22 cm, l – 20 cm, h – 4 cm / sl. no. 4360 / inv. no. 9591.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass strips and plates forming a zigzag design. This design is repeated in two identical parallel forms arranged in meandering lines on the base surface of the block. Brass pitch pins are driven into three corners of the block. A finger-grip hole is carved into each side surface. The number 240 is hand-written in white on one frontal surface of the block; the number 154 is stencilled in white on the other. The wood is worm-eaten; the metal parts are intact.


110

PRINTING BLOCK / Vitanje / hardwood and brass / w – 18 cm, l – 19.3 cm, h – 5.3 cm / sl. no. 4361 / inv. no. 9592.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board with brass pins and plates. The motif consists of two parallel rectangular plates, with tiny round pins driven around them in concentric circles. Pairs of plates are arranged in parallel, shifted rows, alternately facing the opposite direction in each row. Brass pitch pins are driven into three corners of the block. A finger-grip hole is carved into each side surface. The number 218 is hand-written in white on one frontal surface of the block; the number 143 is stencilled in white on the other. The wood is well preserved and the metal appliqués intact.


111

PRINTING BLOCK / Vitanje / hard and soft wood, brass / w – 17 cm, l – 19 cm, h – 6.5 cm / sl. no. 4362 / inv. no. 9593.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass pins, plates and strips forming a plant design. Metal appliqués form the motif of sprigs with leaves, linked by dotted patterns. Brass pitch pins are driven into four corners of the block. A pine board, with two sawn-out finger-grip holes, is nailed onto the reverse side of the base board. The number 323 (?) is hand-written in white on one frontal surface of the block; the number 18 is stencilled in white on the other. The wood is worm-eaten and partly decayed. The metal appliqués are almost entirely preserved.


112

PRINTING BLOCK / Vitanje / hardwood and brass / w – 18 cm, l – 20 cm, h – 4.8 cm / sl. no. 4363 / inv. no. 9594.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board with brass grain-shaped plates. The plates are arranged in intersecting diagonal rows, forming a rhomboidal motif. Brass pitch pins are driven into four corners of the block. A finger-grip hole is carved into each side surface. The number 30 is hand-written in white on one frontal side of the block. The wood is well preserved, but slightly worm-eaten. Several brass plates are missing.


113

PRINTING BLOCK / Vitanje / hardwood and brass / w – 10.5 cm, l – 28 cm, h – 6 cm / sl. no. 4364 / inv. no. 9595.

Same manner of acquisition as under cat. no. 34. Brass pins, plates and strips are driven into a wooden block, forming two rows of cross and dotted patterns on the edges along the entire length of the block. The base surface between the two rows is filled with a seemingly incomplete design. The block was used for printing borders. Brass pitch pins are driven into four corners of the block. A shallow finger-grip hole is carved into each side surface. The number 17 p is hand-written in white on one frontal surface of the block. The wood is well preserved; the metal appliqués are partly damaged. As with similar double printing blocks, this could be one part of a printing block which consisted of two or more parts. The seemingly incomplete pattern in the center of the block may have been supplemented by the design on another part of the block.


114

PRINTING BLOCK / Vitanje / hardwood and brass / w – 6.5 cm, l – 19 cm, h – 5.5 cm / sl. no. 4365 / inv. no. 9596.

Same manner of acquisition as under cat. no. 34. Brass strips, forming a meandering design in twelve rows, are driven into the wooden block. The bent parts of the design are emphasised by double strips, with a wooden inlay between them. Two wavy brass strips are driven into the edges along the entire length of the block. Since both side surfaces have a rough finish with saw traces on them, it seems that this was a part of a larger block. According to his needs the printer probably altered the block so that it became suitable for printing borders. The number 27 (?) is hand-printed in white on one frontal surface of the block. The wood is well preserved and the metal strips intact. Pitch pins are missing.


115

PRINTING BLOCK / Vitanje / hardwood and brass / w – 4.5 cm, l – 20 cm, h – 5 cm / sl. no. 4366 / inv. no. 9597.

Same manner of acquisition as under cat. no. 34. Differently shaped brass pins, plates and strips are driven into the wooden block, forming a stylized sprig with leaves, a rosette, a dotted semicircular space and a stylized tulip (?) blossom. This pattern is repeated three times. The block was used for printing borders. Brass pitch pins are driven into three corners of the block. The number 9 is hand-written in white on one frontal surface of the block. The wood is slightly worm-eaten and the board has a crack along its entire length. The metal appliqués are complete.


116

PRINTING BLOCK / Vitanje / hard and soft wood, brass / w – 16.5 cm, l – 25 cm, h – 5.1 cm / sl. no. 4367 / inv. no. 9598.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass pins forming a geometric design. The motif, consisting of two tear-shaped pins facing each other with their thicker side, is arranged in parallel, shifted rows. The base board bears clearly visible traces of a square mesh, which served as an aid for nailing pins into the wood. Two pine boards with sawn-out finger-grip holes are fastened onto the reverse side of the base board. The number 12 is hand-written in white on one frontal side of the block. The wood is well preserved and the pins complete. The motif of the block is identical to that under cat. no. 85.


117

PRINTING BLOCK / Vitanje / hardwood and brass / w – 17.5 cm, l – 19 cm, h – 5.5 cm / sl. no. 4368 / inv. no. 9599.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with round and tear-shaped brass pins forming several stylized floral designs. The designs are arranged in parallel, shifted and cyclically repeated rows. Brass pitch pins are driven into three corners and the edge of the base board. A finger-grip hole is carved into each side surface. The number 270, first in white and later repainted in black, is hand-written on one frontal surface of the block; the number 108 is stencilled in white on the other. The wood is well preserved and the metal appliqués mostly intact.


118

PRINTING BLOCK / Vitanje / hardwood and brass / w – 19.5 cm, l – 21 cm, h – 5.3 cm / sl. no. 4369 / inv. no. 9600.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass strips forming two different geometric designs. Both designs, linked by a tiny wavy, dotted pattern made from round pins, alternately follow each other in parallel rows. Brass pitch pins are driven into three corners and the edge of the base board. A finger-grip hole is carved into each side surface. The numbers 165 and 157 p are hand-written in white on one frontal surface of the block; the number 247 is stencilled in white on the other. The wood is worm-eaten and the pins incomplete. The geometrical designs are well preserved.


119

PRINTING BLOCK / Vitanje / hardwood and brass / w – 16.7 cm, l – 21 cm, h – 6.5 cm / sl. no. 4370 / inv. no. 9601.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass pins and plates forming a geometric design. The first motif consists of rectangular and trapezoid plates and triangular pins; the second consists of tiny round pins driven into the wood to form an oval. Both patterns alternate and are arranged in parallel rows. A brass pitch pin is driven into one corner; one pitch pin is missing. A finger-grip hole is carved into each side surface. The number 40 is hand-written in white on one frontal surface. The wood is poorly preserved, cracked and rotten, but strengthened. Most of the metal appliqués are preserved.


120

PRINTING BLOCK / Vitanje / hardwood and brass / w – 20.5 cm, l – 23 cm, h – 4.6 cm / sl. no. 4371 / inv. no. 9602.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass pins and plates forming a cross. The cross is made from a round pin surrounded by four grain-shaped pins. The design is arranged in parallel, shifted rows. The base board bears clearly visible traces of a square mesh, which served as an aid in nailing pins into the wood. Brass pitch pins are driven into three corners of the block. A finger-grip hole is carved into each side surface of the block. The wood is slightly worm-eaten; most of the metal appliqués are preserved.


121

PRINTING BLOCK / Vitanje / hardwood and brass / w – 12 cm, l – 22 cm, h – 3.5 cm / sl. no. 4372 / inv. no. 9603.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board with carved tiny flowers, petals and sprigs with leaves. These are supplemented by metal appliqués forming sprigs, tendrils and pistils. The design is arranged in parallel, shifted rows. A brass pitch pin is driven into one corner of the block; the pins in the other three corners are missing. Another wooden board, now missing, had been fastened onto the reverse side of the base board. The wood is worm-eaten, brittle and partly missing in the corners. The wooden ornament is partly damaged; the metal appliqués are preserved.


122

PRINTING BLOCK / Vitanje / hardwood and brass / w – 16.5 cm, l – 20 cm, h – 5 cm / sl. no. 4373 / inv. no. 9604.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with bent brass strips surrounded by brass pins forming the motif of a coniferous twig. This design is arranged in parallel, shifted rows. A wooden insert, later removed or broken off, had originally been inserted into the concave field of each design. A brass pitch pin is driven into one corner of the block. A finger-grip hole is carved into each side surface. The number 151 is hand-written in white on one frontal surface of the block; the number 80 is stencilled in white above it. The wood is worm-eaten and partly damaged, and the wooden inserts are missing. The metal appliqués are well preserved.


123

PRINTING BLOCK / Vitanje / hardwood and brass / w – 3.5 cm, l – 22.5 cm, h – 5 cm / sl. no. 4374 / inv. no. 9605.

Same manner of acquisition as under cat. no. 34. Brass pins, forming a rhomboid and stylized floral design, are driven into a wooden block. The two designs alternate along the entire length of the block. The edges of the base surface are lined by two rows of grain-shaped pins. The block was used for printing borders, and has no finger-grip holes or numerical designations. The wood is well preserved but slightly worm-eaten. The metal appliqués are damaged.


124

PRINTING BLOCK / Vitanje / hardwood and brass / w – 9 cm, l – 23 cm, h – 4.2 cm / sl. no. 4375 / inv. no. 9606.

Same manner of acquisition as under cat. no. 34. Brass pins, plates and strips are driven into a wooden block, forming a leaf and a floral design surrounded by a coniferous twig. This design is repeated four times. Round and triangular pins forming a six-pointed star ornament are driven along the edge of the block. Brass pitch pins are nailed into two corners; a pin in one corner is broken off. A shallow finger-grip hole is carved into each side surface. Since the wood is in a bad state, the number on one frontal surface is not completely visible (only the first number, 1, can be seen). The wood is poorly preserved, worm-eaten and rotten, and part of the block is missing. The metal appliqués are incomplete.


125

PRINTING BLOCK / Vitanje / hardwood and brass / w – 16.5 cm, l – 19 cm, h – 5 cm / sl. no. 4376 / inv. no. 9607.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with round brass pins and rectangular plates forming a square pattern. This pattern is arranged in parallel, shifted rows. Brass pitch pins are driven into three corners of the block. A finger-grip hole is carved into each side surface of the block. The number 109 is hand-written in white on one edge surface; the number 222 is stencilled in white on the other. The wood is badly worm-eaten; the metal appliqués are preserved.


126

PRINTING BLOCK / Vitanje / hardwood and brass / w – 14.5 cm, l – 17 cm, h – 4.7 cm / sl. no. 4377 / inv. no. 9608.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass pins forming a dotted and stylized plant pattern. The latter consists of three round and three grain-shaped pins. The design is arranged in parallel rows, with rows of round pins between them. A design, which was not inlaid with appliqués, is carved into the base surface of the block. Brass pitch pins are driven into three corners of the block. A finger-grip hole is carved into each side surface of the block. The number 325 is hand-written in white on one frontal surface of the block; the number 209 is stencilled in white on the other. The wood is well preserved and the metal appliqués intact.


127

PRINTING BLOCK / Vitanje / hardwood and brass / w – 19 cm, l – 20 cm, h – 5.3 cm / sl. no. 4378 / inv. no. 9609.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass pins and plates forming a fruit or bloom. This design is arranged in parallel, shifted rows. Brass pitch pins are driven into three corners of the block. A finger-grip hole is carved into each side surface. The number 351 is hand-written in white on one frontal surface of the block; the number 117 is stencilled in white on the other. The wood is worm-eaten; the metal appliqués are intact.


128

PRINTING BLOCK / Vitanje / hard and soft wood, brass / w – 19.5 cm, l – 24 cm, h – 5.5 cm / sl. no. 4379 / inv. no. 9610.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass pins and plates forming a geometric design. Each motif consists of plates with a wooden inlay which are driven into the wood to form a triangle, and of three round pins also forming a triangle. The design is arranged in several different combinations and sequences. Brass pitch pins are driven into three corners of the block. A pine board, with two carved finger-grip holes in its side surfaces, is fastened onto the reverse side of the base board. The number 167 is hand-written in white on one frontal surface of the block; the number 245 is stencilled in white on the other. The wood is well preserved and the metal appliqués intact. The board bears traces of work on individual patterns.


129

PRINTING BLOCK / Vitanje / hardwood and brass / w – 17.8 cm, l – 21 cm, h – 3 cm / sl. no. 4380 / inv. no. 10009.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board with brass plates, and round, grain- and tear-shaped pins. They form two floral designs: one with sprigs with leaves, the other without leaves. These designs are arranged in alternating parallel, shifted rows. Two brass pitch pins are driven into two corners of the block; a pin is missing in one corner. The wood is worm-eaten and the board cracked along its entire length. The metal appliqués are mostly intact. Since the lower board is missing, the three numbers on one frontal surface have been only partly preserved.


130

PRINTING BLOCK / Vitanje / hardwood and brass / w – 16 cm, l – 19 cm, h – 5.5 cm / sl. no. 4381 / inv. no. 10010.

Same manner of acquisition as under cat. no. 34. The block consists of a wooden board, with brass rings inlaid with wood forming a dotted design. The motif is incomplete: small, diagonally-cut zigzag grooves consisting of five lines are clearly visible on the base board, but were not inlaid with metal appliqués. Two brass pitch pins are driven into two corners of the block; a pin is missing in another corner. A finger-grip hole is carved into each side surface of the block. The number 43 is hand-written in white on one frontal surface of the block; the number 141 is stencilled in white on the other. The wood is extremely poorly preserved and rotten; part of the block is missing. The dotted decoration is incomplete.


131

PRINTING BLOCK / Škofja Loka / hard and soft wood / w – 14.6 cm, l – 14.8 cm, h – 5 cm / sl. no. 4382 / inv. no. 18502 / old inv. no. 2906.

Same manner of acquisition as under cat. no. 1. The block consists of a wooden board, with broad and narrow round wooden plugs carved into it. The dotted design, on a turncated square base, is arranged in parallel, shifted rows. A pine board, serving as a grip, is nailed onto the reverse side of the base board. The block has no pitch pins or serial numbers. The wood is well preserved and the wooden plugs intact.


132

PRINTING BLOCK / Škofja Loka / hardwood and brass / w – 10 cm, l – 16 cm, h – 5.2 cm / sl. no. 4383 / inv. no. 18503 / old inv. no. 2907.

Same manner of acquisition as under cat. no. 1. The block consists of a wooden board, with round brass pins forming a stylized motif of a heart and leaves. Two pine boards, which strengthen the thin base board, are fastened onto its reverse side. The block has no pitch pins or serial numbers. The wood is well preserved and the metal appliqués intact.


133

PRINTING BLOCK / Škofja Loka / hardwood and brass / w – 14 cm, l – 17 cm, h – 5.2 cm / sl. no. 4384 / inv. no. 18504 / old inv. no. 6475.

Same manner of acquisition as under cat. no. 1. The block consists of a wooden board, with brass pins and plates forming sprigs with leaves and a tiny star-shaped flower (the floral design was not completely executed according to the original pattern outlay, since the flower petals are missing). The design is arranged in parallel, shifted rows. Brass pitch pins are driven into three corners of the block. A finger-grip hole is carved into each side surface of the block. The number 41 is hand-written in white on one frontal surface of the block. The wood and the metal appliqués are well preserved.


134

PRINTING BLOCK / Škofja Loka / hardwood and brass / w – 18.5 cm, l – 18.5 cm, h – 5.5 cm / sl. no. 4385 / inv. no. 18505 / old inv. no. 6482.

Same manner of acquisition as under cat. no. 1. The block consists of a wooden board, with brass pins and plates forming four spaces in the shape of an arrowhead. The spaces are inlaid with wood and are surrounded by four round pins which form a square. The design is arranged in parallel, shifted rows. A square design, which was not inlaid with appliqués, was also cut into the base board; round pins are driven into the wood on the intersections of its lines. Four brass pitch pins are driven into three corners and an edge of the side surface of the block. A finger-grip hole is carved into each side surface. The number 34 is hand-written in white on one frontal surface of the block. The wood is preserved, but the board is cracked along its entire length. The metal appliqués are mostly preserved.

A similar pattern is printed on the textile under cat. no. 150/detail 42.


135

PRINTING BLOCK / Škofja Loka / hardwood and brass / w – 17.8 cm, l – 21 cm, h – 4.5 cm / sl. no. 4386 / inv. no. 18506 / old inv. no. 6485.

Same manner of acquisition as under cat. no. 1. The block consists of a wooden board, with wavy brass plates which are driven into the wood parallel to each other, but with a shift. The plates form different lively, linear patterns, repeated in regular sequences. Brass pitch pins are driven into four corners of the block. A finger-grip hole is carved into each side surface. The wood and the metal appliqués are well preserved.

An identical pattern is printed on the textile under cat. no. 150/detail 51.


136

PRINTING BLOCK / Škofja Loka / hardwood and brass / w – 18.5 cm, l – 19.5 cm, h – 5.5 cm / sl. no. 4387 / inv. no. 18507 / old inv. no. 6491.

Same manner of acquisition as under cat. no. 1. The block consists of a wooden board, with brass grain-shaped pins, plates and strips forming a stylized twig with three leaves and six pieces of fruit. The design is arranged in parallel, shifted rows. Brass pitch pins are driven into two corners and a side surface edge of the block. A finger-grip hole is carved into each side surface. The number 91 is hand-written in white on one frontal surface of the block. The wood is well preserved, but partly cracked in one corner. The metal appliqués are intact.


137

PRINTING BLOCK / Škofja Loka / hardwood and brass / w – 17.5 cm, l – 20.7 cm, h – 5.3 cm / sl. no. 4388 / inv. no. 18508 / old inv. no. 6492.

Same manner of acquisition as under cat. no. 1. The block consists of a wooden board, with brass pins and plates forming a tiny stylized floral design. The design is arranged in parallel, shifted rows, facing a different direction in each second row. On one side it is supplemented by an additional row of the floral pattern. Two brass pitch pins are driven into two corners of the block; two pins are missing in the other two corners. A finger-grip hole is carved into each side surface. With the exception of two corners which are partly broken off, the wood is well preserved. The metal appliqués are intact.

An identical pattern is printed on the textile under cat. no. 150/detail 53.


138

PRINTING BLOCK / Škofja Loka / hardwood and brass / w – 17.5 cm, l – 20.5 cm, h – 5.4 cm / sl. no. 4389 / inv. no. 18509 / old inv. no. 6493.

Same manner of acquisition as under cat. no. 1. The block consists of a wooden board with wooden ornaments carved out of it. Together with brass pins, these ornaments form a plant design. The design is made of two floral motifs, with sprigs or leaves arranged in parallel, shifted rows. A dotted pattern is only indicated in the empty spaces between the ornaments; only a few pins had been driven into the board. A brass pitch pin is driven into one corner of the block; a pin is missing in another corner. Another hardwood board, with two carved finger-grip holes on its reverse side, is fastened onto the reverse side of the base board. A two-digit number is hand-written on one frontal surface; the first digit (3) is the only legible one. With the exception of a broken corner, the wood is well preserved, and the wooden and metal parts of the design are mostly undamaged.


139

PRINTING BLOCK / Škofja Loka / hardwood and brass / w – 17.3 cm, l – 19 cm, h – 4.8 cm / sl. no. 4390 / inv. no. 18510 / old inv. no. 6494.

Same manner of acquisition as under cat. no. 1. The block consists of a wooden board with metal appliqués. Round, grain- and tear-shaped pins form a sprig with a larger leaf; rings with a wooden inlay form fruits. The design is arranged in parallel, shifted rows. Brass pitch pins are driven into three corners and the edge of a side surface. A finger-grip hole is carved into each side surface of the block. The number 122 is hand-written in red on one frontal surface of the block. The wood is well preserved and the appliqués undamaged.


140

PRINTING BLOCK / hardwood and brass / w – 18 cm, l – 18.5 cm, h – 4.3 cm / sl. no. 4391 / inv. no. 18511 / old. inv. no. 6495.

Same manner of acquisition as under cat. no. 1. The block consists of a wooden board, with brass pins forming round and square designs. The first consists of pins driven into the wood to form a square and concentric circles. The second consists of four stylized heart-shaped motifs, all of which form a square space. The two designs are arranged in parallel, shifted rows. Brass pitch pins are driven into three corners of the block. A finger-grip hole is carved into each side surface. The wood is well preserved and the metal appliqués intact.


141

PRINTING BLOCK / unknown / hard and soft wood, brass / w – 22.5 cm, l – 25.5 cm, h – 5 cm / sl. no. 4392 / inv. no. 18512.

Manner of acquisition unknown. The block consists of a wooden board, with brass pins and strips forming sprigs with leaves and blooms. The blooms consist of metal plates with a wooden inlay. Brass rings are driven between the plant patterns. The patterns on the base surface follow each other with a shift. Brass pitch pins are driven into three corners of the block. A pine board, with a finger-grip hole in each side surface, is fastened onto the reverse side of the base board with screws and nails. The number 59 is hand-written on one frontal surface of the block. The wood is well preserved and the metal appliqués intact.


142

PRINTING BLOCK / unknown / hardwood and brass / w – 16.5 cm, l – 22.7 cm, h – 5.6 cm / sl. no. 4393 / inv. no. 18513.

Manner of acquisition unknown. The block consists of a wooden board, with brass pins and plates forming sprigs with leaves, tiny blooms and larger blooms in the shape of a horn. The design, alternately facing in the opposite direction, is arranged in four parallel rows. Two brass pitch pins are driven into two corners of the block. A finger-grip hole is carved into each side surface of the block. A brass plate, with a punched number 65, is nailed onto one frontal surface. The initials F.G. are chiselled into the reverse side of the board. The wood is well preserved. The metal appliqués are partly missing but mostly intact.


143

PRINTING BLOCK / unknown / hardwood and brass / w – 18.5 cm, l – 17.5 cm, h – 6 cm / sl. no. 4394 / inv. no. 18514.

Manner of acquisition unknown. The block consists of a wooden board, with brass pins, strips and plates forming two groups of compositionally identical plant and floral patterns. These are connected by two parallel dotted lines of round pins. The first pattern consists of larger spiral leaves and three sprigs with leaves; the second consists of stylized flowers within tear-shaped spaces. Each pattern had another spiral space, later removed, inlaid with wood and with round brass pins nailed into it. Two pitch pins are driven into two corners of the block. The designs on the edge of the block have been executed only halfway along so that, by shifting the block, they form a whole when printed on fabric. A finger-grip hole is carved into each side surface of the block. The number 189 is hand-written in green on one frontal surface. The wood is rotten and the metal appliqués incomplete.


144

PRINTING BLOCK / unknown / hardwood and brass / w – 17.2 cm, l – 17 cm, h – 3 cm / sl. no. 4395 / inv. no. 18515.

Manner of acquisition unknown. The block consists of a wooden board with brass pins and strips. These form the pattern of an interlacing wavy line surrounded by round pins, and that of a wavy strip surrounded by tiny stylized flowers on each side. The two patterns alternate in parallel rows. There are visible traces of a square mesh, which served as an aid for nailing pins into the wood, on the base board. A brass pitch pin is driven into one corner of the block; the pins in two other corners are missing. Another board, now missing, had been fastened onto the reverse side of the base board. The wood and most metal appliqués are well preserved.


145

PRINTING BLOCK / unknown / hardwood and brass / w – 19 cm, l – 22.5 cm, h – 2.2 cm / sl. no. 4396 / inv. no. 18516.

Manner of acquisition unknown. The block consists of a wooden board with brass pins, plates and strips. The design, consisting of stalks, tendrils and six-petalled blooms, is arranged in a seemingly disorderly sequence. Bell-shaped buds are inlaid with wood. Brass pitch pins are driven into three corners and the edge of a side surface of the block. Another board, now missing, had been fastened onto the reverse side of the base board. The wood is slightly worm-eaten and is cracked along the entire length of one side. The metal appliqués are intact.


146

PRINTING BLOCK / Tržič / hardwood and brass / w – 11 cm, l – 15 cm, h – 5.3 cm / sl. no. 4397 / inv. no. 18517.

Manner of acquisition unknown. The block consists of a wooden board, with brass pins, plates and strips forming a coat of arms. The coat-of-arms consists of a blank oval shield surrounded by stylized sprigs with leaves, topped with a crown. Two animal heads, those of a lion with a crown and of a unicorn, flank the shield. Under the shield is a semicircular inscription, CASP. POLLAK, and underneath, in a slightly wavy line, the inscription IN NEUMARKTL. On the bottom of the coat-of-arms is a symmetrical composition of two stylized leaf patterns with a stylized upside-down appliquéd flower (a tulip?) between them. A brass pitch pin is driven into the furthest ends of the block. A shallow finger-grip hole is carved into each side surface. The wood is well preserved, and the metal appliqués are intact and only partly damaged at the edges. The block represents the trademark of Gašper Pollak, a dyer and printer from Tržič.


147

PRINTING BLOCK / unknown / hardwood and brass / w – 10.8 cm, l – 14.8 cm, h – 2 cm / sl. no. 4398 / inv. no. 18518.

Manner of acquisition unknown. The block consists of a wooden board, with brass pins, plates and strips forming a plant/geometric design. The basic motif consists of two larger, richly decorated blossoms linked by two sprigs with stylized round blooms or maybe fruits. Each side of the floral motif is bordered by a row of square and stylized floral patterns. Since the block was used for printing corner borders, the design is arranged in its corners. Five pitch pins are driven into the furthest points of the block; four of them are broken off. An additional board, now missing, had been fastened onto the reverse side; consequently the block has no finger-grip holes. The wood is well preserved, and most of the metal appliqués are preserved and undamaged.




Catalogue of Blue-Printed Textiles


148

PATTERN SHEET / unknown / cotton / w – 87 cm / l – 115 cm / sl. no. 4399 / inv. no. 3131.

Manner of acquisition unknown. Sixteen different pattern areas have been printed on a rectangular piece of dyed, dark-blue cotton cloth. The hand-printed patterns have white and light-blue geometric and stylized plant designs. The areas of the pattern are separated by a repeating plant motif of leaves and fruits. Since the pattern sheet is trimmed with yellow cotton ribbon, it was probably used as a tablecloth. Save for three tears in one corner, most of the pattern sheet is well preserved. Another corner bears the hand-written date 1832, which is probably the year the pattern sheet was made. Judging by the patterns printed on the textile and by blocks with identical patterns kept at the Škofja Loka Museum, it may be presumed that the pattern sheet was made at the Pokorn dye works in Škofja Loka.


149

PATTERN SHEET / unknown / cotton / w – 87 cm, l – 90 cm / sl. no. 4400 / inv. no. 3231.

Manner of acquisition unknown. Sixteen different pattern areas have been printed on a rectangular piece of dyed, dark-blue cotton cloth. The hand-printed patterns have yellow geometric and stylized plant patterns. The areas of the pattern are separated with rows of dots on each side. Since the pattern sheet is trimmed with a cream-colored cotton ribbon, it was probably used as a tablecloth. Save for several tears, the pattern sheet is well preserved. See commentary under 148. This pattern sheet was also made in the first half of the 19th century.


150

PATTERN SHEET / unknown / cotton / w – 85.5 cm, l – 131 cm / sl. no. 4428 / inv. no. 3133.

Manner of acquisition unknown. Forty-eight different pattern areas, with numbers between 41 and 87 (or 88), have been printed on dyed, dark-blue cotton cloth, with light-blue patterns printed using hand-held printing blocks. Pattern areas are separated by parallel, light-blue lines. As a rule, the numbers of the patterns on the pattern sheet should denote the numbers of the corresponding printing blocks (printed on the frontal surfaces of the printing blocks) kept by a dyer in his workshop. It is possible, however, that these numbers denote a printing block with a similar motif. In order to hang the pattern sheet there are three loops sown onto the edge of the upper side of the pattern sheet. Even though the last pattern area (no. 88) has been almost entirely cut off, there is still enough of it left for us to be able to determine the pattern and the corresponding printing block, which is part of the SEM collection. Identical or similar patterns of printing blocks from the SEM are printed on the pattern sheet and have the following catalogue numbers: 2, 5, 7, 8, 17, 20, 27, 28, 29, 30, 134, 135 and 137. The pattern sheet is well preserved and pierced in only a few places. Even though its origin has not been stated in the inventory book, it may safely be presumed that it comes from the Pokorn dye works in Škofja Loka. The pattern sheet served as an aid for Pokorn’s customers, who had to choose the printing pattern for their textiles.


151

SAMPLE / Vitanje / cotton / w – 6 cm, l – 45 cm / sl. no. 4429 / inv. no. 9316.

In 1963 this sample was donated to the museum by Alojz Hofbauer’s sister Marija Hofbauer of 108 Vitanje. The blue-dyed ribbon has a white pattern identical to the pattern on the printing block under cat. no. 53. The ribbon, which had been sown as a decorative border on the right front side of the blouse under cat. no. 160, was later removed. The design on the cloth was printed at the Hofbauer dye works in Vitanje.


152

SAMPLE / Vitanje / cotton / w – 9 cm, l – 12 cm / sl. no. 4430 / inv. no. 9317. Same manner of acquisition as under cat. no. 151. This blue-dyed piece of cloth has a white pattern identical to the pattern on the printing block under cat. no. 102. The fabric was dyed and printed at the Hofbauer dye works in Vitanje. As late as 1940, the donor used to wear the aprons made from this fabric for everyday use.


153

SAMPLE / Vitanje / cotton / w – 22.5 cm, l – 26 cm / sl. no. 4431 / inv. no. 9318.

Same manner of acquisition as under cat. no. 151. This blue-dyed piece of cloth has a white pattern identical to the pattern on the printing block under cat. no. 49. See the commentary under no. 152 for details of its use, printing and dyeing.


154

SAMPLE / Vitanje / cotton / w – 16 cm, l – 47 cm / sl. no. 4432 / inv. no. 9319. Same manner of acquisition as under cat. no. 151. This blue-dyed piece of cloth has a white pattern identical to that found on the printing blocks under cat. nos. 12 and 66. See the commentary under no. 152 for details of its use, printing and dyeing.


155

SAMPLE / Vitanje / cotton / w – 22.5 cm, l – 38 cm / sl. no. 4433 / inv. no. 9320.

Same manner of acquisition as under cat. no. 151. This blue-dyed piece of cloth has a white pattern identical to the one found on the printing block under cat. no. 41. See the commentary under no. 152 for details of its use, printing and dyeing.


156

SAMPLE / Vitanje / cotton / w – 21 cm, l – 26.5 cm / sl. no. 4434 / inv. no. 9321.

Same manner of acquisition as under cat. no. 151. The blue-dyed piece of cloth has a white pattern identical to that found on the printing block under cat. no. 52. See the commentary under no. 152 for details of its use, printing and dyeing.


157

SAMPLE / Vitanje / cotton / w – 8 cm, l – 24.5 cm / sl. no. 4435 / inv. no. 9322.

Same manner of acquisition as under cat. no. 151. This blue-dyed piece of cloth has a white dotted pattern identical to that found on the printing block under cat. no. 57. See the commentary under no. 152 for details of its use, printing and dyeing.


158

BLOUSE / Vitanje / cotton / l – 49 cm / sl. no. 4436 / inv. no. 13689.

This blouse has been donated to the museum by dyer Alojz Hofbauer of 108 Vitanje. This working garment for women is made from blue-dyed cloth, with white stylized floral patterns identical to those found on the printing block under cat. no. 52. The fabric is lined with white linen. The blouse is poorly preserved, torn and incomplete (sleeveless). The blouse, as well as the items under cat. nos. 159, 160, 161 and 162, was dyed and printed at Alojz Hofbauer’s dye works in Vitanje. These clothes were still worn by Hofbauer’s sister Marija around 1950. The clothes with the above-mentioned catalogue numbers were made around 1930, probably as Sunday afternoon “best”.


159

BLOUSE / Vitanje / cotton / l – 47 cm / sl. no. 4437 / inv. no. 13690.

Same manner of acquisition as under cat. no. 158. This long-sleeved working garment for women is made from blue-dyed cloth, with white geometric patterns identical to those on the printing block under cat. no. 41. The blouse, closed with snap fasteners at the chest, has three pearl buttons for decoration. The cloth is lined with white linen. The blouse is pleated in the lower back area. A ribbon for tying is sown onto the linen lining. The blouse is poorly preserved, the left sleeve has been cut off, and the right sleeve is torn. See commentary under no. 158.


160

BLOUSE / Vitanje / cotton / l – 47 cm / sl. no. 4438 / inv. no. 13691.

Same manner of acquisition as under cat. no. 158. The blouse, which is made from dyed, dark-blue cloth, has a wide collar and long sleeves, and is a little longer than waist-length. A blue ribbon, with a white pattern identical to that found on the printing block under cat. no. 53, is sown as decoration onto the left front side and the cuffs. An identical border, now missing, has been removed from the right front side (see cat. no. 151). The blouse, closed with snap fasteners at the chest, has three white glass buttons for decoration. The blouse is lined with a cotton ribbon in the lower back area. The ribbon is 3 cm wide and has another ribbon, l cm wide, sown to it for tying the blouse. The lower back area is pleated together with the ribbon. The garment is poorly preserved. See commentary under no. 158.


161

SHIRT / Vitanje / cotton / l – 52 cm / sl. no. 4439 / inv. no. 13692.

Same manner of acquisition as under cat. no. 158. It seems that the entire long-sleeved garment had initially been cut from a piece of blue-dyed cloth with a white dotted pattern, but was later cut under the chest and remained unhemmed. Both shoulders are lined with the cloth with an identical white pattern, the same as the collar which is fastened with two buttons on the chest part below the neck. The chest and the back sides are preserved, the sleeves are torn and a button is missing. See commentary under no. 158. Looking at its cut, this could have been a work shirt worn by men in Vitanje and its surrounding area before World War II.


162

APRON / Vitanje / cotton / l – 58 cm / sl. no. 4440 / inv. no. 13693.

Same manner of acquisition as under cat. no. 158. The apron is made from blue-dyed cloth, with a white dotted pattern identical to that found on the printing block under cat. no. 49. The apron has a waist, is cut into three sheets, and has a pocket on the right side. It is very poorly preserved, torn in many places, and was part of a woman’s work clothes. See commentary under no. 158.


163

SAMPLE / Vitanje / cotton / w – 32 cm, l – 73 cm / sl. no. 4441 / inv. no. 13694.

Same manner of acquisition as under cat. no. 158. This blue-dyed piece of cloth with white patterns is torn and poorly preserved. Fabrics with such patterns were used for women’s skirts. The pattern is identical to that on the printing blocks under cat. nos. 12 and 66. See commentary under no. 152.


164

SAMPLE / Vitanje / cotton / w – 16 cm, l – 97 cm / sl. no. 4442 / inv. no. 13695.

Same manner of acquisition as under cat. no. 158. This blue-dyed piece of cloth with white patterns was cut from the lower part of a skirt. A grey-green ribbon, 4 cm wide, was sown onto the fabric in order to strengthen the lower edge of the skirt. The pattern is identical to that on the printing blocks under cat. nos. 12 and 66. See commentary under no. 152.


165

SAMPLE / Vitanje / cotton / w – 21 cm, l – 43 cm / sl. no. 4443 / inv. no. 18519.

This blue-dyed piece of cloth with white patterns has not yet been inventoried. It came to the SEM together with other textiles from the Hofbauer dye factory. The fabric is poorly preserved and torn in several places. The sample from Vitanje dates from around 1930; this kind of fabric was used for women’s dresses at the time.





KAZALA / INDEXES


KAZALA MODELOV / INDEX OF PRINTING BLOCKS


I. Kazalo kraja uporabe / Index of Places of Use:

Škofja Loka: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 27, 28, 29, 30, 131, 132, 133, 134, 135, 136, 137, 138, 139, 140

Motnik: 31, 32, 33

Vitanje: 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 54, 55, 56, 57, 58, 59, 60, 61, 62, 63, 64, 65, 66, 67, 68, 69, 70, 71, 72, 73, 74, 75, 76, 77, 78, 79, 80, 81, 82, 83, 84, 85, 86, 87, 88, 89, 90, 91, 92, 93, 94, 95, 96, 97, 98, 99, 100, 101, 102, 103, 104, 105, 106, 107, 108, 109, 110, 111, 112, 113, 114, 115, 116, 117, 118, 119, 120, 121, 122, 123, 124, 125, 126, 127, 128, 129, 130

Tržič: 146

Neznano / Unknown: 26, 141, 142, 143, 144, 145, 147


II. Kazalo tipov / Index of Types:

1. Glede na sestavo modela / According to structure of block:

Enodelni / Single: 2, 3, 4, 5, 6, 7, 8, 10, 11, 12, 13, 14, 15, 17, 18, 19, 20, 21, 22, 23, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 54, 55, 56, 57, 58, 59, 60, 61, 62, 63, 64, 65, 66, 67, 68, 69, 70, 71, 72, 73, 74, 75, 76, 77, 78, 80, 81, 82, 83, 84, 85, 86, 87, 88, 89, 90, 91, 92, 93, 94, 95, 96, 97, 98, 99, 100, 101, 102, 103, 104, 105, 106, 107, 108, 109, 110, 111, 112, 113, 114, 115, 116, 117, 118, 119, 120, 121, 122, 123, 124, 125, 126, 127, 128, 129, 130, 131, 132, 133, 134, 135, 136, 137, 138, 139, 140, 141, 142, 143, 144, 145, 146, 147

Dvodelni / Double: 1, 9, 16, 24, 25, 79

2. Glede na material osnovnega vzorca / According to material of basic pattern:

a) Leseni / Wooden: 1b, 6, 9b, 16a, 24b, 25a, 31, 38, 45, 65, 131

b) Kovinski / Metal:

Medenina/Brass: la, 3, 5, 7, 9a, 11, 12, 13, 15, 17, 19, 22, 23, 24a, 25b, 27, 29, 30, 34, 35, 36, 37, 39, 40, 41, 42, 43, 44, 46, 47, 48, 50, 52, 53, 54, 55, 56, 57, 58, 60, 61, 62, 64, 66, 68, 70, 71, 72, 74, 75, 76, 77, 78, 79a, 79b, 80, 81, 82, 84, 85, 86, 87, 88, 89, 90, 91, 92, 93, 94, 100, 102, 105, 106, 107, 108, 109, 110, 111, 112, 113, 115, 116, 117, 118, 119, 120, 122, 123, 124, 125, 126, 127, 129, 132, 133, 135, 136, 137, 140, 142, 143, 144, 146, 147

Železo / Iron: 104

Medenina, železo / Brass, iron: 59, 67, 95

c) Kombinirani / Combined:

Medenina, les / Brass, wood: 2, 4, 8, 10, 14, 16b, 18, 20, 21, 28, 32, 33, 49, 51, 63, 69, 73, 83, 96, 97, 98, 99, 101, 103, 114, 121, 128, 130, 134, 138, 139, 141, 145

Železo, les / Iron, wood: 26

3. Glede na postopek (način) tiskanja / According to manner of printing:

a) Modeli za sosledno oziroma raportno tiskanje / Repeat printing blocks: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 54, 55, 56, 57, 58, 59, 60, 61, 62, 63, 64, 66, 67, 68, 69, 70, 71, 72, 73, 74, 75, 76, 77, 78, 79, 80, 81, 82, 83, 84, 85, 86, 87, 88, 89, 90, 91, 92, 93, 94, 95, 96, 97, 98, 99, 100, 101, 102, 103, 104, 105, 106, 107, 108, 109, 110, 111, 112, 113, 114, 115, 116, 117, 118, 119, 120, 121, 122, 123, 124, 125, 126, 127, 128, 129, 130, 131, 133, 134, 135, 136, 137, 138, 139, 140, 141, 142, 143, 144, 145

b) Modeli za pečatno tiskanje / Stamp-printing blocks: 26, 65, 132, 146, 147


III. Kazalo vzorcev / Index of Patterns:

Rastlinski / Plant: 1, 2, 3, 8, 9, 10, 11, 12, 14, 15, 16, 17, 18, 19, 20, 21, 22, 24, 24a, 25, 26, 28, 31, 32, 40, 44, 45, 52, 58, 59, 61, 65, 66, 67, 69, 70, 71, 72, 73, 74, 75, 78, 86, 88, 93, 94, 96, 97, 105, 106, 111, 115, 117, 121, 122, 127, 129, 133, 136, 137, 138, 139, 142, 143, 145, 147

Geometrijski / Geometric: 6, 7, 13, 23, 27, 29, 30, 33, 34, 36, 37, 38, 39, 41, 43, 46, 47, 48, 49, 50, 53, 54, 55, 56, 57, 60, 62, 68, 76, 77, 79, 80, 82, 83, 85, 89, 91, 95, 98, 99, 100, 101, 102, 103, 104, 108, 109, 110, 112, 113, 114, 116, 118, 119, 120, 125, 128, 130, 131, 135, 140

Rastlinsko-geometrijski / Plant-geometric: 4, 5, 16a, 35, 42, 51, 63, 64, 81, 84, 87, 90, 92, 107, 123, 124, 126, 132, 134, 141, 144

Živalski / Animal: 146


KAZALO MODRO TISKANIH TKANIN / INDEX OF BLUE–PRINTED TEXTILES


I. Kazalo kraja uporabe / Index of Places of Use:

Škofja Loka: 148 (pripisano / added), 149 (pripisano / added), 150 (pripisano / added)

Vitanje: 151, 152, 153, 154, 155, 156, 157, 158, 159, 160, 161, 162, 163, 164, 165


II. Kazalo namembnosti / Index of Purpose:

Vzorčnik / Pattern sheet: 148, 149, 150

Vzorec (prvotno del oblačila, za muzej izbran kot kos modro tiskanega blaga) / Sample (initially part of a garment, selected for the museum collection as a specimen of blue-printed cloth): 151, 152, 153, 154, 155, 156, 157, 163, 164, 165

Oblačilo / Garment: 158, 159, 160, 161, 162





SLIKOVNA PRILOGA / ILLUSTRATIONS





Andrej Dular


MODELI ZA MODROTISK / BLUE-PRINTING BLOCKS


Zbirka Slovenskega etnografskega muzeja / Collection of the Slovene Ethnographic Museum


Knjižnica Slovenskega etnografskega muzeja 7 / Slovene Ethnographic Museum Library 7


Urednica / Editor:

Nena Židov


Uredniški odbor / Editorial board:

Gorazd Makarovič, Janja Žagar, Jasna Horvat, Bojana Rogelj Škafar


Oblikovanje in postavitev / Design and layout:

Jurij Kocbek


Fotografije / Photographs:

Andrej Dular


Lektura / Proofreading:

Rajko Korošec


Prevod / Translation:

Nives Sulič


Lektura angleškega prevoda / English language editing:

Amidas


Recenzenta / Reviewers:

Gorazd Makarovič, Marija Makarovič


Izdal / Published by:

Slovenski etnografski muzej,

Metelkova 2, 1000 Ljubljana, Slovenija

zanj

Tanja Roženbergar


Ljubljana 2015





Izdano v okviru projekta





CIP - Kataložni zapis o publikaciji

Narodna in univerzitetna knjižnica, Ljubljana



39:677.027.5(497.4)(0.034.2)



DULAR, Andrej

Modeli za modrotisk [Elektronski vir] : zbirka Slovenskega etnografskega muzeja / [besedilo [in] fotografije] Andrej Dular ; [prevod Nives Sulič]. - El. knjiga. - Ljubljana : Slovenski etnografski muzej, 2015. - (Knjižnica Slovenskega etnografskega muzeja = Slovene Ethnographic Museum Library, ISSN 1408-290X ; 7)



ISBN 978-961-6388-53-5 (ePub)

1. Slovenski etnografski muzej

282451712