XXXXXXXXXXXXXXXXXX LJUBLJANA 2020 Umetnostnozgodovinski inštitut Franceta Steleta ZRC SAZU France Stele Institute of Art History ZRC SAZU ACTA HISTORIAE ARTIS SLOVENICA 25|2 • 2020 Likovna umetnost v habsburških deželah med cenzuro in propagando Visual Arts in the Habsburg Lands between Censorship and Propaganda XXXXXXX XXXXXXXXXX Acta historiae artis Slovenica, 25/2, 2020 Likovna umetnost v habsburških deželah med cenzuro in propagando Visual Arts in the Habsburg Lands between Censorship and Propaganda Znanstvena revija za umetnostno zgodovino / Scholarly Journal for Art History ISSN 1408-0419 (tiskana izdaja / print edition) ISSN 2536-4200 (spletna izdaja / web edition) ISBN: 978-961-05-0495-5 Izdajatelj / Issued by ZRC SAZU, Umetnostnozgodovinski inštitut Franceta Steleta / ZRC SAZU, France Stele Institute of Art History Založnik / Publisher Založba ZRC Glavna urednica / Editor-in-chief Tina Košak Urednika številke / Edited by Franci Lazarini, Tina Košak Uredniški odbor / Editorial board Renata Komić Marn, Tina Košak, Katarina Mohar, Mija Oter Gorenčič, Blaž Resman, Helena Seražin Mednarodni svetovalni odbor / International advisory board Günter Brucher (Salzburg), Ana María Fernández García (Oviedo), Hellmut Lorenz (Wien), Milan Pelc (Zagreb), Sergio Tavano (Gorizia-Trieste), Barbara Wisch (New Y ork) Lektoriranje / Language editing Maria Bentz, Kirsten Hempkin, Amy Anne Kennedy, Andrea Leskovec, Tjaša Plut Prevodi / Translations Andrea Leskovec, Borut Praper, Nika Vaupotič Celosten strokovni in jezikovni pregled / Expert and language editing Blaž Resman Oblikovna zasnova in prelom / Design and layout Andrej Furlan Naslov uredništva / Editorial office address Acta historiae artis Slovenica Novi trg 2, p. p. 306, SI -1001 Ljubljana, Slovenija ahas@zrc-sazu.si; https://ojs.zrc-sazu.si/ahas Revija je indeksirana v / Journal is indexed in Scopus, ERIH PLUS, EBSCO Publishing, IBZ, BHA Letna naročnina / Annual subscription: 35 € Posamezna enojna številka / Single issue: 25 € Letna naročnina za študente in dijake: 25 € Letna naročnina za tujino in ustanove / Annual subscription outside Slovenia, institutions: 48 € Naročila sprejema / For orders contact Založba ZRC Novi trg 2, p. p. 306, SI-1001, Slovenija E-pošta / E-mail: zalozba@zrc-sazu.si AHAS izhaja s podporo Javne agencije za raziskovalno dejavnost Republike Slovenije. AHAS is published with the support of the Slovenian Research Agency. © 2020, ZRC SAZU, Umetnostnozgodovinski inštitut Franceta Steleta, Založba ZRC, Ljubljana Tisk / Printed by Collegium Graphicum d.o.o., Ljubljana Naklada / Print run: 400 Vsebina Contents Franci Lazarini Likovna umetnost v habsburških deželah med cenzuro in propagando. Predgovor 5 Visual Arts in the Habsburg Lands between Censorship and Propaganda. Preface 7 DISSERTATIONES Martin Bele Did he Really Do it? Frederick V of Ptuj – Coward or Victim? 11 Je res to storil? Friderik V . Ptujski – strahopetec ali žrtev? 24 Miha Kosi Representative Buildings of the Counts of Cilli – an Expression of Dynastic Propaganda 25 Reprezentativne zgradbe grofov Celjskih – izraz dinastične propagande 46 Mija Oter Gorenčič Die Kartäuserpolitik der Grafen von Cilli – ein Vorbild für die Habsburger? 49 Kartuzijanska politika grofov Celjskih – zgled za Habsburžane? 65 Susanne König-Lein Das Habsburger Mausoleum in der Stiftskirche Seckau 67 Habsburški mavzolej v sekovski samostanski cerkvi 110 Edgar Lein Graz und Rom – der Petersdom als Vorbild für die Katharinenkirche und das Mausoleum 111 Gradec in Rim – bazilika sv. Petra kot vzor za cerkev sv. Katarine in mavzolej 138 Friedrich Polleroß Porträt und Propaganda am Beispiel Kaiser Karls VI. 139 Portret in propaganda na primeru cesarja Karla VI. 171 Tina Košak Between Uniformity and Uniqueness. Depictions of Benefactors of Stična Cistercian Abbey 173 Med uniformnim in edinstvenim. Upodobitve dobrotnikov cistercijanskega samostana Stična 201 Polona Vidmar Porträts als visualisierte Erinnerung an verdienstvolle Leistungen der Bürger von Maribor (Marburg) 203 Portreti kot vizualizirani spomin na dosežke zaslužnih mariborskih meščanov 229 Jan Galeta National Houses in Moravia and Austrian Silesia before 1914. Architecture and Fine Arts as an Opportunity for the Manifestation of National Allegiance 231 Narodni domovi na Moravskem in v avstrijski Šleziji pred letom 1914. Arhitektura in likovna umetnost kot priložnost za manifestacijo nacionalne pripadnosti 246 Franci Lazarini Nationalstile als Propagandamittel in der Zeit der Nationalbewegungen. Slowenische und andere Nationalstile in der Architektur um 1900 249 Nacionalni slogi kot propagandno sredstvo prebujajočih se narodov. Slovenski in drugi nacionalni slogi v arhitekturi okoli leta 1900 266 Petra Svoljšak Umetnost med cenzuro in propagando v prvi svetovni vojni 269 Art between Censorship and Propaganda during the First World War 293 Barbara Vodopivec Visual Propaganda in the Slovenian Territory during the First World War: Influences and Specifics 295 Vizualna propaganda med prvo svetovno vojno na ozemlju Slovenije: vplivi in posebnosti 318 Vesna Krmelj Narodi gredo svojo silno pot. Položaj in ustvarjalnost likovnih umetnikov med prvo svetovno vojno na Kranjskem med cenzuro in propagando 319 The Nations Go Their Own Way. The Position and Creativity of Artists in Carniola between Censorship and Propaganda during the First World War 348 APPARATUS Izvlečki in ključne besede /Abstracts and keywords 353 Sodelavci / Contributors 361 Viri ilustracij / Photographic credits 363 5 ACTA HISTORIAE ARTIS SLOVENICA 25|2 ∙ 2020, 5–8 Predgovor Likovna umetnost v habsburških deželah med cenzuro in propagando Pričujoča tematska številka Acta historiae artis Slovenica prinaša trinajst znanstvenih prispevkov, nastalih v sklopu raziskovalnega projekta Likovna umetnost med cenzuro in propagando od srednje - ga veka do konca prve svetovne vojne (L7-8282), ki je v letih 2017–2020 potekal na Oddelku za umet - nostno zgodovino in Oddelku za zgodovino Filozofske fakultete Univerze v Mariboru ter na Umet - nostnozgodovinskem inštitutu Franceta Steleta in Zgodovinskem inštitutu Milka Kosa ZRC SAZU, sofinancirali pa sta ga Javna agencija za raziskovalno dejavnost Republike Slovenije in Slovenska akade - mija znanosti in umetnosti. Znanstveno izhodišče interdisciplinarno zasnovanega projekta je bilo dej - stvo, da sta skozi zgodovino tako propaganda kot cenzura, dve pomembni politični sredstvi vplivanja na javno mnenje, odločilno zaznamovali in določali likovno umetnost. Pri svojih raziskavah smo se geografsko zamejili na področje habsburške monarhije, ki ji je več kot pol tisočletja pripadalo slovensko ozemlje in ki je zaradi svoje razgibane zgodovine predstavljala idealen teren za razvoj različnih oblik propagande in cenzure, med drugim tudi vizualne. Glede na siceršnje raziskovalno delo članov projek - tne skupine so se študije osredotočile na štiri zaključene časovne sklope: srednji vek, zgodnji novi vek, dolgo 19. stoletje in prvo svetovno vojno. V želji, da bi dogajanje na periferiji vsaj delno osvetlili tudi z vidika središča, torej prestolnic Du - naja in v zgodnjem novem veku Gradca, ter da bi procese, ki so potekali pri nas, umestili v dogajanje v celotni monarhiji, smo k sodelovanju povabili tudi tri strokovnjake iz Avstrije in enega iz Češke, ki so s svojimi besedili pomembno prispevali k celovitosti pogleda na obravnavano tematiko. Srednjeveški sklop začenja Martin Bele, ki spregovori o enem najstarejših ohranjenih primerov srednjeveške propagande na Štajerskem, Štajerski rimani kroniki Otokarja iz Geule, nastali v 13. stoletju v okviru spora med plemiškima rodbinama Ptujskih in Liechtensteinskih. Glavnina raziskav srednje - ga veka pa se je osredotočila na najpomembnejšo srednjeveško plemiško rodbino s področ ja današnje Slovenije, grofe Celjske, in njen odnos s Habsburžani. Miha Kosi je predstavil načrtno grajsko politiko Celjskih, v obdobju največjega vzpona so posedovali kar okoli 125 gradov, v čemer vidi obliko dina - stične propagande. Mija Oter Gorenčič je raziskala medsebojne vplive in zglede v kartuzijanski politiki Celjskih in Habsburžanov. Avtorica ugotavlja tesno prepletenost med obema plemiškima rodbinama in kartuzijani, ki se kaže tudi na umetnostnem področju, v prvi vrsti pri kartuziji Jurklošter. Obdobje zgodnjega novega veka pomembno zaznamujeta protireformacija in katoliška prenova, za potrebe propagande zmage Katoliške cerkve pa so se naročniki pogosto posluževali tudi različnih zvrsti likovne umetnosti. To je bilo še posebej očitno konec 16. stoletja in v 17. stoletju, ko je Gradec po - stal rezidenca Habsburžanov, pomembnih nosilcev katoliške prenove. Susanne König-Lein obravnava habsburški mavzolej v kolegijski cerkvi v Sekovi (Seckau) na Zgornjem Štajerskem, katerega naročnik je bil nadvojvoda Karel II. Avstrijski. Reliefi in poslikave mavzoleja poveličujejo Karla II. kot zaščitnika katoliške vere, zaradi česar lahko v habsburškem mavzoleju vidimo primer manifestacije začetka pro - tireformacije. O arhitekturi kot pomembnem propagandnem sredstvu govori prispevek Edgarja Leina, ki obravnava cerkev sv. Katarine in mavzolej v Gradcu, zgrajena po naročilu nadvojvode Ferdinanda (kasnejšega cesarja Ferdinanda II.). Avtor predstavi rimske arhitekturne zglede in izpostavi vlogo jezuita Wilhelma Lamormainija pri preoblikovanju mavzoleja v spomenik protireformacije. 6 PREDGOVOR 6 Eno od pomembnejših propagandnih sredstev je tudi portret, še zlasti vladarski. O njem z vidika umetnostnega središča spregovori Friedrich Polleroß, ki se je posvetil javni funkciji različnih tipov portretov cesarja Karla VI. s posebnim poudarkom na njihovi propagandni vlogi. Tina Košak analizi - ra portrete dobrotnikov cistercijanskega samostana Stična, najobsežnejši ohranjeni tovrstni sklop na Slovenskem, razkriva doslej neznane likovne in pisne vire ter ponuja novo atribucijo. Nastanku stiških portretov so botrovale ilustracije v slavilnih biografskih knjigah, ki so bile svojevrstna oblika propagan - de Habsburžanov kot tudi plemstva na dunajskem dvoru, napisi na spodnjem delu platna pa so povzeti po takrat spisani samostanski kroniki. Da je portret igral pomembno propagando vlogo tudi v 19. stoletju, kaže članek Polone Vidmar o portretih uglednih mariborskih meščanov, naslikanih za mariborski rotovž, mestno hranilnico in pro - store gledališko-kazinskega društva, na katerih so vizualizirani tudi izjemni dosežki upodobljencev, pripadnikov lokalne politične in ekonomske elite. Drugo polovico 19. stoletja zaznamuje emancipacija različnih narodov, živečih na ozemlju mo - narhije, ki so za svojo propagando uporabljali različne likovne zvrsti. Dosedanje raziskave tega pojava so se osredotočale predvsem na historično slikarstvo in javne spomenike, medtem ko je propagandna vloga arhitekture ostajala v ozadju. V tem kontekstu so izjemnega pomena narodni domovi, posebna avstroogrska različica javne stavbe, ki se je najprej pojavila v čeških deželah, potem pa razširila po celot - ni avstrijski polovici monarhije. Narodne domove na Moravskem in v avstrijski Šleziji predstavlja Jan Galeta, ki v svojem članku spregovori tudi o njihovi raznoliki propagandni vlogi. Med značilne oblike propagande prebujajočih se narodov pa uvrščamo tudi poskuse kreiranja nacionalnega arhitekturnega sloga na prehodu iz 19. v 20. stoletje. Avtor v svojem prispevku v kontekstu propagande predstavi tako slovenski nacionalni slog kot tudi druge nacionalne sloge v slovenski arhitekturni dediščini. Prva svetovna vojna brez dvoma pomeni vrhunec cenzure in propagande v celotnem obdobju habsburške monarhije. Trije prispevki predstavljajo kompleksen odmev teh procesov v sočasni likovni produkciji na Slovenskem. Petra Svoljšak govori o odnosu avstrijskega državnega aparata do likovne umetnosti, predvsem z vidika cenzure in propagande. Predstavljeni so državni uradi (npr. Vojni tiskov - ni urad, Umetniška skupina), ki so izvajali nadzor nad umetniško propagando, pa tudi posamezniki, ki so jih rekrutirali za potrebe vojne propagande. O vplivu omenjenih državnih uradov na slovenski prostor piše Barbara Vodopivec, ki poleg medvojnih umetniških razstav, delovanja vojnih slikarjev in mehanizmov produkcije vsebin za množične tiske izpostavlja vlogo slikarja Ivana Vavpotiča in predsta - vi nekatera njegova do sedaj neznana dela. Vesna Krmelj pa z vidika cenzure in propagande obravnava pogoje za umetniško produkcijo v času vojnega absolutizma na Kranjskem, kjer je generacija slovenske moderne in impresionistov šele vzpostavljala pogoje za institucionalni razvoj slovenske umetnosti in s tem posledično tudi za uspešno propagando, izpostavlja pa med drugim tudi načine, s katerimi so umetniki spodbujali slovensko nacionalno zavest. Zahvaljujem se uredništvu Acta historiae artis Slovenica za možnost objave projektnih spoznanj, so - delavcem Umetnostnozgodovinskega inštituta Franceta Steleta ZRC SAZU za vso pomoč in podpo - ro pri nastanku pričujoče številke, prevajalcem in lektorjem ter seveda Javni agenciji za raziskovalno dejavnost Republike Slovenije in Slovenski akademiji znanosti in umetnost, ki sta omogočili izvedbo projekta in izid revije. Upam, da bodo prispevki postali navdih in izhodišče za prihodnje raziskave te kompleksne, a zanimive in pomembne tematike. Franci Lazarini, vodja projekta in gostujoči urednik 7 PREFACE Preface Visual Arts in the Habsburg Lands between Censorship and Propaganda The present thematic issue of Acta historiae artis Slovenica comprises thirteen scientific papers as an output of the research project Visual Arts between Censorship and Propaganda from the Middle Ages to the End of World War I (L7-8282), which was carried out at the Department of Art History and the Department of History of the Faculty of Arts, University of Maribor, as well as the France Stele Insti - tute of Art History and the Milko Kos Historical Institute ZRC SAZU between 2017 and 2020, and was co-funded by the Slovenian Research Agency and the Slovenian Academy of Sciences and Arts. The starting point of the interdisciplinary project is the fact that throughout history, propaganda and censorship, two important political means of influencing public opinion, have decisively marked and defined art. Our research was limited to the geographical area of the Habsburg Monarchy, to which the Slovenian lands belonged for more than half a millennium, and which, owing to its diverse his - tory, was ideal terrain for the development of various forms of propaganda and censorship in, among others, the visual arts. Based on the research interests of the project group members, the studies were focused on four historical periods: the Middle Ages, the Early Modern Period, the long 19 th century, and the First World War. In order to at least partially explain the events in the periphery through the perspective of the capitals, such as Vienna, and in the Early Modern Period Graz, and shed light on certain aspects of propaganda in a wider context, we invited three experts from Austria and one from the Czech Republic to participate. They contributed immensely to a comprehensive view of the issue at hand. The medieval section begins with Martin Bele, who presents one of the oldest preserved examples of medieval propaganda in Styria, Ottokar aus der Gaal’s Styrian Rhyme Chronicle , written in the 13 th century as a result of a dispute between two aristocratic families, the Lords of Ptuj and the Liechtenstein family. Most of the research relating to the Middle Ages was focused on the most important medieval noble family from present-day Slovenia, the Counts of Cilli, and their relationship to the Habsburgs. Miha Kosi analyses the strategic castle politics of the Counts of Cilli, who at the time of their ascen- dency possessed approximately 125 castles, which he sees as a form of dynastic propaganda. Mija Oter Gorenčič researched mutual influences and models in the Carthusian politics of the Counts of Cilli and the Habsburgs. The author points out the close ties between both noble families and the Carthusians, which were also apparent in the sphere of art, primarily in the Jurklošter charterhouse. The Early Modern Period was significantly marked by the Counter-Reformation and the Catho - lic Revival, and patrons often used various forms of art to propagandise the victory of the Catholic church. This was especially evident at the end of the 16 th and in the 17 th century, when Graz became the residence of the Habsburgs, important supporters of the Counter-Reformation. Susanne König-Lein discusses the Habsburg mausoleum in the Seckau collegiate church in Upper Styria, the commissioner of which was Archduke Charles II. The reliefs and paintings of the mausoleum glorify Charles II as the protector of the Catholic faith, which is why it is possible to see the Habsburg mausoleum as an example of the manifestation of the beginning of the Counter-Reformation. Edgar Lein’s contribution focuses on architecture as an important means of propaganda. The author examined St. Catherine’s Church and Mausoleum in Graz, which were commissioned by Archduke Ferdinand (later Emperor 8 PREFACE 8 Ferdinand II). Lein presents Roman architectural models and points out the role of Jesuit Wilhelm Lamormaini in the transformation of the Mausoleum into a monument to Counter-Reformation. One of the most important means of propaganda was also portraits, especially imperial portraits. Fried rich Polleroß, who focused particularly on the public function of various types of portraits of Emperor Charles VI, with emphasis on their propaganda role, writes about these works from an art centre perspec - tive. Tina Košak analyses portraits of the benefactors of Stična Cistercian monastery, the largest surviving ensemble of this kind in Slovenia, offers a new attribution, and unravels its sources. The visual models for the series of ten oval portraits were the illustrations in glorifying biographical books, which were themselves an efficient form of propaganda for the Habsburgs as well as the nobility in the court of Vienna. The inscrip - tions on the lower part of the portraits were based on the newly written monastic chronicle by Paul Puzel. The article by Polona Vidmar on the portraits of renowned Maribor townspeople painted for the Maribor town hall, the town savings bank, and the rooms of the theatre and casino society, which also visualize the exceptional achievements of the depicted representatives of the local political and economic elite, demonstrates that portrait also played an important propaganda role in the 19 th century. The second half of the 19th century was characterised by the emancipation of the various nations liv - ing in the monarchy, who utilised a variety of art genres for the purpose of propaganda. So far, research of this phenomenon mostly focused on history painting and public monuments, while architecture’s role in propaganda remained in the background. In this context, national houses, a special Austro-Hungarian type of public building, which first appeared in the Czech lands and then spread across the entire Austrian part of the monarchy, are of immense importance. National houses in Moravia and Austrian Silesia are presented by Jan Galeta, who also discusses their diverse propaganda role. Moreover, we place the attempts to establish a national architectural style at the turn of the 20th century among the characteristic forms of propaganda in the awakening nations. In my article, the Slovenian national style, as well as other national styles in Slovenian architectural heritage, are presented and explained in the context of propaganda. During W orld W ar I, censorship and propaganda undoubtedly reached their peaks, when consider - ing the era of the Habsburg Monarchy. Three contributions reveal the complex nature of these processes on the example of the art production in the territory of Slovenia. Petra Svoljšak discusses the attitude of the Austrian state apparatus towards art, especially from the point of view of censorship and propaganda. She presents the state offices (e.g. War Press Office (Kriegspressequartier, KPQ) and the Art depart - ment (Kunstgruppe)) that exercised control over art propaganda and the individuals who were recruited for the needs of war propaganda. Barbara Vodopivec explains the influence of the above-mentioned state offices in the Slovenian context. In addition to wartime art exhibitions, war artists’ activities, and mechanisms of mass press production, she highlights the role of Ivan Vavpotič and presents some of his previously unknown works of art. Vesna Krmelj discusses the circumstances in art production from the point of view of censorship and propaganda during the period of war absolutism in Carniola, where the generation of the Slovenian moderna and the impressionists had only begun to establish the conditions for the institutional development of Slovenian art, and consequently for successful propaganda. Further - more, she also emphasizes the ways in which artists encouraged Slovenian national consciousness. I thank the editorial board of the Acta historiae artis Slovenica for the opportunity to publish the project findings, my co-workers at the France Stele Institute of Art History ZRC SAZU for all their help and sup - port in the creation of the present issue, the translators and language editors, and the Slovenian Research Agency and Slovenian Academy of Sciences and Arts, who enabled the execution of the project and the publication of this journal. I hope that the contributions will inspire future research in this complex but interesting and important topic. Franci Lazarini, principal investigator and guest editor DISSERTATIONES DOI: https://doi.org/10.3986/ahas.25.2.02 25 ACTA HISTORIAE ARTIS SLOVENICA 25|2 ∙ 2020, 25–47 Representative Buildings of the Counts of Cilli – an Expression of Dynastic Propaganda Miha Kosi The Counts of Cilli were undoubtedly the most important and influential medieval noble family with a seat in present-day Slovenia. They were named after the town of Celje (Cilli) in one time Styria (fig. 1). Originally from Bavaria, we can find records of them in their new homeland from before the mid-12 th century. They were of free noble status ( liberi ; nobiles ; Freie ), with their original seat in Žovnek Castle (Sannegg) in the Savinja Valley, west of Celje. By the 13 th century, they were already influential enough to be counted upon by all the princes fighting for supremacy in the southeastern border area of the Holy Roman Empire: the Austrian Babenbergs, Bohemian King Ottokar II Přemysl and the Habsburgs from King Rudolph I onwards. Their humble beginnings are well illustrated, even at the beginning of the 14 th century, when they possesed only 4 castles and two smaller towers, with which, in 1308, they became vassals of the Habsburgs as dukes of Styria. Over the next hundred years they were loyal supporters of the Habsburgs, under whose protection they gradually began their political ascent. 1 For centuries they were fortunate in terms of offspring as well as in marriage politics, which in the 14 th century meant the inclusion of some of the most important families of the Eastern Alpine area among their relatives: the Counts of Heunburg, Görz, Ortenburg, Schaunberg, the Lords of Walsee and Pfannberg and also a princess of the Polish royal house (Ana, daughter of King Kasimir 1 On the history of the Counts of Cilli in general see (selective): Hans PIRCHEGGER, Die Grafen von Cilli, ihre Grafschaft und ihre untersteirischen Herrschaften, Osttdeutsche Wissenschaft , 2, 1956, pp. 157–200; Janko ORO- ŽEN, Zgodovina Celja in okolice, 1: Od začetka do leta 1848 , Celje 1971 2 ; Heinz DOPSCH, Die Grafen von Cilli – Ein Forschungsproblem?, Südostdeutsches Archiv , 17–18, 1974/75, pp. 9–49; Heinz DOPSCH, Die Freien von Sannegg als steirische Landherren und ihr Aufstieg zu Grafen von Cilli, Celjski grofje. Stara tema – nova spoznanja (ed. Rolanda Fugger Germadnik), Celje 1999, pp. 23–35; Peter ŠTIH, Die Grafen von Cilli, die Frage ihrer landes- fürstlichen Hoheit und des Landes Cilli, Mitteilungen des Instituts für Österreichische Geschichtsforschung , 110, 2002, pp. 67–98 (Slovene version: Celjski grofje, vprašanje njihove deželnoknežje oblasti in dežele Celjske, Grafe - nauerjev zbornik (ed. Vincenc Rajšp), Ljubljana 1996, pp. 227–256); Johannes GRABMAYER, Das Opfer war der Täter. Das Attentat von Belgrad 1456 – über Sterben und Tod Ulrichs II von Cilli, Mitteilungen des Instituts für Österreichische Geschichtsforschung , 111, 2003, pp. 286–316; Christian DOMENIG, Die Grafen von Cilli und ihr Verhältnis zu den Habsburgern, »Und wenn schon, dann Bischof oder Abt «. Im Gedanken an Günther Hödl (1941– 2005) (eds. Christian Domenig, Johannes Grabmayer, Reinhard Stauber), Klagenfurt 2006, pp. 73–90; Christian DOMENIG, Die Rolle der Juden im Herrschaftsaufbau der Grafen von Cilli, Aschkenas. Zeitschrift für Geschichte und Kultur der Juden , 20/2, 2010, pp. 343 –356; Miha KOSI, Dežela, ki je ni bilo. Posavinje med Kranjsko in Šta - jersko od 11. do 15. stoletja, Studia historica Slovenica. Časopis za humanistične in družboslovne študije , 8/2–3, 2008, pp. 527–564; Daniela DVOŘÁKOVÁ, Barbara von Cilli. Die schwarze Königin (1392–1451) , Frankfurt am Main-Bratislava 2017 (Spectrum Slovakia, 11); popularly Rolanda FUGGER GERMADNIK, Grofje in knezi Celj - ski, Celje 2014. 26 MIHA KOSI III the Great, 1380). They outlived many of their contemporaries and on a few occasions inherited rich legacies – in 1322 from the Counts of Heunburg and 1418 from the Counts of Ortenburg, both from Carinthia. This meant the inclusion of vast rich new territories into the original Cilli domain. One of the first important successes of the family in the war for the Heunburg inheritance was the acquisition in 1331/33 of the castle and town of Celje, which became their new seat. 2 Celje was an important urban centre at the crossroads of trade routes between Hungary and Italy and from the north to Croatia. 3 In 1341 the first milestone in the family history occurred – Emperor Louis the Bavarian elevated the hitherto Lords of Sannegg to the Counts of Cilli, which was confirmed by Emperor Charles of Luxemburg in 1372. They became ‘Reichsgrafen’. 4 The continued rise in the importance of the family, resulting also from the active participa - tion of some family members as mercenaries in the armies of the Habsburgs and especially of the Hungarian King Louis I of Anjou, brought the first marriage ties to the Hungarian and Polish royal courts (1361, 1380, 1402). 5 The next milestone was the participation of Count Hermann II at the battle of Nicopolis in 1396, where he – along with Burgrave John of Nürnberg – saved the life of the Hungarian King, Sigismund of Luxemburg. This was the beginning of the deep personal ties that brought opportunities in the Hungarian Kingdom and resulted in 1405 in the marriage of Hermann᾿s daughter Barbara to King Sigismund. The family rose to the forefront of Hungarian barons, and with Barbara becoming also the German Queen (1410/11; Empress 1433) and Bohemian 2 PIRCHEGGER 1956 (n. 1), pp. 159–160; DOPSCH 1999 (n. 1), pp. 30–31; ŠTIH 2002 (n. 1), pp. 70–71; KOSI 2008 (n. 1), p. 555; Tone RAVNIKAR, Po zvezdnih poteh. Savinjska in Šaleška dolina v visokem srednjem veku , Velenje 2007, pp. 243–248. 3 PIRCHEGGER 1956 (n. 1), p. 159; Miha KOSI, The Beginnings of Medieval Towns in the Slovenian Lands and their »Founders«. Controversies and New Interpretations, T owns and Cities of the Croatian Middle Ages. Authority and Property (eds. Irena Benyovsky Latin, Zrinka Pešorda Vardić), Zagreb 2014, pp. 121–123. 4 DOPSCH 1999 (n. 1), pp. 31–32; ŠTIH 2002 (n. 1), pp. 71–74; DOMENIG 2006 (n. 1), pp. 75–76, 83–84; KOSI 2008 (n. 1), pp. 556–557. 5 Herman I of Cilli married Katarina Kotromanić of Bosnia in 1361, sister of the Hungarian Queen Elisabeth, and therefore became brother-in-law to King Louis I of Anjou. Count William of Cilli married Ana of Poland in 1380, daughter of King Kasimir III the Great. Their daughter Ana in turn married the Polish King Wladyslaw II Jagiello in 1402. DOPSCH 1974/75 (n. 1), pp. 14–16; GRABMAYER 2003 (n. 1), p. 291; DOMENIG 2006 (n. 1), pp. 74–75, 84. 1. Celje in: Georg Matthäus Vischer, Topographia Ducatus Stiriae, Grätz 1681 27 REPRESENTATIVE BUILDINGS OF THE COUNTS OF CILLI – AN EXPRESSION OF DYNASTIC PROPAGANDA Queen (1420) – Count Hermann became father-in-law to the Emperor and triple King, and a very influential one at that. This also meant the end of the century long cooperation with the Habsburgs, with the rift widening over the decades. It finally resulted in deep antagonism with Emperor Fred - erick III, lasting until the Cillis died out in 1456. 6 The most decisive moment in this development, and of the history of the family in general, was Emperor Sigismund᾿s elevation of the Counts of Cilli to Imperial Princes in 1436. This actually meant that they and their territories were excluded from Habsburg rule; the Counts became the Emperor᾿s direct vassals, and their counties the Emperor᾿s fief. 7 This resulted in a brutal feud between the two dynasties, lasting from 1437 until 1443 and end - ing with a compromise and a mutual inheritance agreement. The Cillis retained personal status as Imperial Princes, but had to renounce the exemption of their territories from Habsburg rule. New confrontations came to an end with the death of the last Count Ulrich II of Cilli only 13 years later – in 1456. This truly meteoric rise to the status of imperial princes and one of the most influential dynasties in Central Europe took place within only half a century and spanned three generations, until the assassination in Belgrade in 1456 when their story came to an abrupt end. Castle Politics of the Counts of Cilli What exactly is ‘castle politics ’? A medieval castle was naturally a defence building, offering protec - tion to its lord. However, it was also much more than that, a strong symbol of power and prestige, and in a way – also a propaganda tool. In the later Middle Ages castles were still built predomi - nantly on prominent, high locations, visible from far and wide. It was a clear statement by the ow - ner, who was the ruler of the adjoining territory. Castle politics ( ‘Burgenpolitik ’) – the building or, more frequently, the acquisition of existing castles, was therefore a natural component of dynastic policies. 8 And the counts of Cilli are an outstanding example of this. In 1308 they possesed only 6 fortified buildings. By 1329 they had 10, by 1383 the number had risen to 66 and by 1425 to 125 castles. In only three decades between 1350 and 1383 they had acquired 40 new castles. 9 6 DOPSCH 1974/75 (n. 1), pp. 17–30; ŠTIH 2002 (n. 1), pp. 76–83, 87–98; GRABMAYER 2003 (n. 1), pp. 291–298; DOMENIG 2006 (n. 1), pp. 79–81, 85–90. 7 DOPSCH 1974/75 (n. 1), pp. 22–26; ŠTIH 2002 (n. 1), pp. 82–87; DOMENIG 2006 (n. 1), pp. 84–85; KOSI 2008 (n. 1), pp. 557–559. 8 See Herwig EBNER, Die Burgenpolitik ind ihre Bedeutung für die Geschichte des Mitelalters, Carinthia I , 164, 1974, pp. 33–51. On medieval castles and castle politics in the area of present day Slovenia, see Dušan KOS, In Burg und Stadt. Spätmittelalterlicher Adel in Krain und Untersteiermark , Wien-München 2006 (Veröffentlichun - gen des Instituts für Österreichische Geschichtsforschung, 45), especially pp. 46–75. On the case of the Dukes of Bavaria see Pankraz FRIED, Hochadelige und landesherrlich-wittelsbachische Burgenpolitik im hoch- und spät - mittelalterlichen Bayern, Die Burgen im deutschen Sprachraum. Ihre rechts- und verfassungsrechtliche Bedeutung, 2 (ed. Hans Patze), Sigmaringen 1976 (Vorträge und Forschungen, 19), pp. 331–352; on the Bishops of Salzburg see Heinz DOPSCH, Burgenbau und Burgenpolitik des Erzstiftes Salzburg, Die Burgen 1976 (n. 8), pp. 387–416. 9 In detail with all relevant sources Miha KOSI, Grajska politika – primer grofov celjskih, Kronika. Časopis za slo - vensko krajevno zgodovino , 60/3, 2012, pp. 467–480. See also Christian DOMENIG, Burgen und Burgenpolitik der Grafen von Cilli, Burgen im Alpenraum , Petersberg 2012 (Forschungen zu Burgen und Schlössern, 14), pp. 53–59. 28 MIHA KOSI year number of castles 1308 4 castles, 2 towers 1329 10 castles 1383 66 castles 1425 125 castles This was an organisational and financial offensive, without parallel in the wider Eastern Alpi - ne area at the time. The bases for this was their hugely successful financial politics, together with ‘family discipline’ – outstanding cooperation between various members of the family. Their finan - ces were based partly on income from their immensely profitable mercenary warfare, in large part for their feudal seniors – the Habsburgs. For this they were frequently paid off with the acquisition of castles and estates in pledge for indefinite periods of time. In this way the Counts held more than twenty Habsburg castles in their possession for 60, 70 years or more. Another strategy was the loaning of large sums to various lords with the same goal of receiving castles in return, while the third way was by paying off the debts of noble families in social decline – often to Jewish finan - ciers – and receiving property with castles in return. This was the theory, and in practice it was actually hugely successful. By 1425, the Counts of Cilli possessed 125 castles (not including smaller buildings, known as ‘tower’ – Turn ) ( fig. 2). 10 According to current research, the Counts actually built only four out of this enormous number themselves. All of the others had already been built and were merely expanded or reconstructed by them. In the following sections, some of the more important castles, either strategically exposed or built by the Cillis themselves will be discussed in more detail. Some Representative Buildings At the height of their might in the territories within the Empire – in the first quarter of the 15 th century –, the Counts of Cilli possessed almost one half of the Duchy of Carniola and large parts of Lower Styria and Carinthia. On the western border of Carniola, two key fortresses on the main trade routes from Italy in the direction of Hungary were in their possession for more than 60 years: Vipava (Wippach, figs. 3–4) and Postojna (Adelsberg, fig. 5). The Counts received Vipava in pledge from the Dukes of Austria in 1357 for 7000 florins, 11 and Postojna in 1371. 12 These were outposts 10 KOSI 2012 (n. 9), pp. 472–478. In 1485 the Italian traveller Paolo Santonino even stated that the Counts once po - ssessed 140 castles and towns, which – after they died out in 1456 – were taken over by the Emperor: … post mor - tem omnium Comitum Cilie ad imperialem fiscum cum omnibus alijs castris et oppidis numero (ut aiunt) CXXXX.ta devolutum est. Giuseppe V ALLE, Itinerario di Paolo Santonino in Carintia, Stiria e Carniola negli anni 1485–1487 (codice vaticano latino 3795) , Città del Vaticano 1943 (Studi e testi, 103), p. 221. 11 The first acquisition in 1357 was actually of the fortress Lower Wippach, but soon also the upper castle was in their hands, confirmed in the source of 1374. Arhiv Republike Slovenije, Ljubljana (ARS), Zbirka listin (SI AS 1063), 1357 VI 30 Vienna; 1374 IX 16 Celje; Miha KOSI, Spopad za prehode proti Jadranu in nastanek »dežele Kras«. Vojaška in politična zgodovina Krasa od 12. do 16. stoletja , Ljubljana 2018 (Opuscula, 6), pp. 78–79, 99; KOSI 2012 (n. 9), p. 472. 12 ARS, SI AS 1063, 1371 XII 2 Vienna. Dukes Albert III and Leopold III bought Adelsberg in 1371 for the enormous Table 1: Dynamics of the Castle Politics of the Counts of Cilli 29 REPRESENTATIVE BUILDINGS OF THE COUNTS OF CILLI – AN EXPRESSION OF DYNASTIC PROPAGANDA 2. Castles of the Counts of Cilli in 1425; marked are castles, discussed in the text (some acquired later) 30 MIHA KOSI of enormous importance in both strategic and economic terms. Every trader, soldier or diplomat aproaching from Italy first encountered the banners of the Counts of Cilli. First-rate propaganda. And Count Hermann II of Cilli – leader of the dynasty between 1385 and 1435 – was indeed a feared and respected adversary of the Republic of Venice. During the war of King Sigismund of sum of 28.000 florins (the highest known value of a medieval estate in the area of present-day Slovenia). A large part of the sum was paid by the Counts of Cilli, who received the castle and estate in pledge in December of the same year. It included also toll stations on the main trade roads from Italy and the coast towards Hungary which, in the next decades, brought the Cillis a considerable income. KOSI 2018 (n. 11), p. 86. 3. Vipava, upper castle, in: Johann Weichart Valvasor, Topographia Ducatus Carnioliae modernae, Wagensperg in Crain 1679 4. Vipava, upper castle in the 14 th century (reconstruction by Igor Sapač) 31 REPRESENTATIVE BUILDINGS OF THE COUNTS OF CILLI – AN EXPRESSION OF DYNASTIC PROPAGANDA Hungary with Venice in 1412 it was Hermann who, in the name of the king, discussed truce terms with the Venetian ambassadors in his castle in Postojna. At that time he was also the lord of the three main Carst passes on the trade roads from the Northern Adriatic into Carniola and in 1419 was able to efficiently execute Sigismund ᾿s economic blockade of Venice. 13 On the other side of Carniola, a huge swathe of the imperial border towards Croatia and Hun - gary, with castles, was in the hands of the Counts of Cilli. There seems to have been a plan behind their acquisition, as there is a logic underpinning it – from the end of the 14 th century, the Counts also held extensive possessions in Slavonia, on the other side of the imperial border, and were there - fore highly interested in control of the border crossings. On one of the most important of them – on the main trade route from Zagreb into the Empire and towards Italy – there still stands one of the four castles built by the Counts themselves: Mokrice (Mokritz, fig. 6). Mentioned for the first time in 1447, it was built on the estate of the old Gratschan border fortress, which the Habsburgs had pledged to the Counts in 1356. 14 The appearance of it today is mainly the result of the renaissance 13 Miha KOSI, »Prometna politika« celjskih grofov, Celjski grofje 1999 (n. 1), pp. 169–170 (with a map); KOSI 2018 (n. 11), pp. 116–118. 14 ARS, SI AS 1063, 1447 IX 3; KOSI 2012 (n. 9), pp. 470–471, 483, 488. 5. Postojna, a sketch for Johann Weichart Valvasor, Topographia Ducatus Carnioliae modernae 6. Mokrice in: Johann Weichart Valvasor, Topographia Ducatus Carnioliae modernae,  Wagensperg in Crain 1679 32 MIHA KOSI fortification against the Ottomans from the second half of the 16 th century on. Although it has not yet been thoroughly researched in terms of architectural history, a smaller medieval core can still be clearly discerned behind later additions (fig. 7). 15 Its construction was an obvious act of propa - ganda. The geographical location was chosen very deliberately – on a hill just short of the imperial border, so the castle could be seen from far and wide on both sides of it. In a way with a similar purpose, although much less exposed, was Kunšperk (Königsberg), another Cilli castle, acquired in 1395 by donation from the last lord of the extinct Königsberg family. 16 This time it was an older border structure, originally from the 12 th century, with a real commanding position and a clear 15 Ivan STOPAR, Grajske stavbe v osrednji Sloveniji. 2: Dolenjska. 2: Med Bogenšperkom in Mokricami , Ljubljana 2001 (Grajske stavbe, 13), pp. 86–104; Igor SAPAČ, Grad Bela Peč/Weissenfels in njegov arhitekturnozgodovinski pomen, Kronika. Časopis za slovensko krajevno zgodovino , 64/3, 2016, p. 381, n. 153. 16 KOSI 2012 (n. 9), p. 478. 7. Mokrice castle with medieval core in the middle 8. Kunšperk and Cesargrad in: Georg Matthäus Vischer, Topographia Ducatus Stiriae, Grätz 1681 33 REPRESENTATIVE BUILDINGS OF THE COUNTS OF CILLI – AN EXPRESSION OF DYNASTIC PROPAGANDA propaganda name. 17 Interestingly, its counterpart on the Hungarian side of the border, eventually also acquired by the Counts of Cilli (in 1399), was named Cesargrad (Kaisersberg, fig. 8). In the far north-western corner of Carniola, on the border towards the territory of the Bishop of Bamberg in Carinthia and close to Venetian border, lay the second castle built by the Cillis them - selves – Weissenfels (Bela Peč, Fusine in Valromana). The area – the upper Sava river basin – was colonised late, in the 14 th century, on a site with no previous fortifications. Its construction, began around 1431 in a commanding position – on a high hill above the valley, with extensive views in both directions (fig. 9) 18 – caused quite a stir. In 1433 Duke Frederick V, as territorial prince, vehe - mently – but eventually unsuccesfuly – protested against the new building, and the Venetians even 17 Ivan STOPAR, Grajske stavbe v vzhodni Sloveniji. 5: Med Kozjanskim in porečjem Save , Ljubljana 2001 (Grajske stavbe, 5), pp. 46–50. 18 Franz KRONES, Die Freien von Saneck und ihre Chronik als Grafen von Cilli , 2, Graz 1883, p. 81. 9. Weissenfels in Val Romana, in the illustrated chronicle of the Khevenhüller family, around 1620, detail 10. Weissenfels in Val Romana in the 15 th century (reconstruction by Igor Sapač) 34 MIHA KOSI sent a detachment, supposedly some 1000 men strong, to destroy the building site, but in vain. 19 The altitude of the structure is considerable, almost 1100 metres, and it is one of the highest standing castles in the European Alps. Its initial layout was quite simple, clearly not meant as a residence but simply as a symbol of power (fig. 10). Viewed in the wider landscape, its impact must have been considerable, as testified also by the Italian Paolo Santonono, who saw it in 1486 .20 It was clearly a propaganda building on the border, on one of the aproaches to the very heart of the Cilli territory. 21 Speaking of propaganda, there is hardly a castle in the wider area which better fits this catego - ry than Landskron in the middle of Carinthia (fig. 11). Built by the Habsburg dukes in the mid 14 th century, already with a propaganda name – ‘crown of the territory’ – it displays its primal function as a symbol of power and rulership. 22 There is one fact in particular that makes the motive behind it even clearer. It was perched on a hill high above the town of Villach, the main urban and trade center of Carinthia, which was not in the possession of the territorial princes – the Habsburgs –, but of the bishop of Bamberg. Little known, but even this representative building of princely power came into the possession of the counts of Cilli. The dukes, ever in need of finance, gave it in 1372 in pledge to the Cillis for a large loan and it remained in their possession for whole 55 years (until 19 Karl KOV AČ, Beiträge zur Geschichte Krains, Carniola , 2, 1911, pp. 164–165; Alphons LHOTSKY , Eine unbeach- tete Chronik Österreichs aus der Zeit Kaiser Friedrichs III., Festschrift zur Feier des zweihundertjährigen Bestandes des Haus- Hof- und Staatsarchivs, 1 (ed. Leo Santifaller), Wien 1949 (Mitteilungen des österreichischen Staatsar - chivs, Ergänzungsband 2), p. 543. 20 V ALLE 1943 (n. 10), p. 221: /…/ castrum Veisenfels alias per Comitem da Cilia in altissimo conditum monte, quod altius est omnibus a me visis /…/ Habeat castrum ipsum circumdatos montes asperos et mire magnitudinis, in quibus omni fere anni tempore durant nives . 21 SAPAČ 2016 (n. 15), pp. 353–374. 22 The castle was most likely built by Duke Albert II and is first mentioned indirectly in 1351. Herman WIESSNER, Monumenta historica ducatus Carinthiae. 10: Die Kärntner Geschichtsquellen 1335–1414 , Klagenfurt 1968, p. 127, no. 356; KOSI 2012 (n. 9), p. 474. 11. Markus Pernhart: Landskron, around 1860 35 REPRESENTATIVE BUILDINGS OF THE COUNTS OF CILLI – AN EXPRESSION OF DYNASTIC PROPAGANDA 1427). 23 The Counts could from here occasionally harrass the bishop ᾿s citizens of Villach and, du - ring the feud in 1425, even unsuccessfully besieged the town. 24 If the aforementioned examples were clearly representations of power with no residential func - tion, the following are more suited to this category. One very interesting example is Friedrichstein in southern Carniola, built by Count Frederick II of Cilli around 1422–25 in the center of an extensive estate, colonised in the mid-14 th century with a German peasant population. 25 As the name suggests, it served a propoganda purpose – named after the owner –, but there is also clear evidence that the Count occasionally used it as a residence. After a deep rift developed with his father in 1425, it was razed by Count Herman II, but Frederick later rebuilt it. Given its limited scale and location high on a mountain above Kočevje (Gotchee), among vast forests at an altitude of almost 1000 metres, it most likely fulfilled the function of a sort of retreat, possibly a hunting lodge (figs. 12–13). 26 A clear residential funcion, however, can be seen in the seats of the Counts of Cilli in urban environments. Considering the prestigious position of the family in the first half of the 15 th century, 23 Božo OTOREPEC, Gradivo za zgodovino Ljubljane . 1: Listine 1246–1397 , Ljubljana 1965, no. 77; KOSI 2012 (n. 9), p. 474. 24 Walter FRESACHER, Die Verteidigung von Villach im Mittelalter, Neues aus Alt-Villach , 3, 1966, pp. 42–43; Tomaž LAZAR, Vitezi, najemniki in smodnik. Vojskovanje na Slovenskem v poznem srednjem veku , Ljubljana 2012, pp. 133–136. 25 KRONES 1883 (n. 18), p. 79; SAPAČ 2016 (n. 15), p. 381. 26 Ivan STOPAR, Grajske stavbe v osrednji Sloveniji. 2: Dolenjska. 4: Med Igom, Ribnico in Kočevjem , Ljubljana 2003 (Grajske stavbe, 15), pp. 48–55; SAPAČ 2016 (n. 15), pp. 381–382. 12. Friedrichstein in: Johann Weichart Valvasor, Topographia Ducatus Carnioliae modernae, Wagensperg in Crain 1679, detail 13. Friedrichstein in the 15 th century (reconstruction by Igor Sapač) 36 MIHA KOSI 14. Johannes Clobucciarich: palace of the Counts of Cilli in Celje, around 1603, Styrian State Archives, Graz 15. Palace of the Counts of Cilli in Celje, oil painting of St Florian, around 1780, Church of St Daniel in Celje, detail 16 –18. Palace of the Counts of Cilli in Celje in the 15 th century (reconstruction by Ivo Gričar) 37 REPRESENTATIVE BUILDINGS OF THE COUNTS OF CILLI – AN EXPRESSION OF DYNASTIC PROPAGANDA it is no wonder they had urban mansions in all the important centers of power. Besides Celje, they had palaces in Ljubljana (Laibach), 27 Graz, 28 Vienna, Zagreb, Varaždin, 29 Buda and Belgrade. Their town castle/palace in Celje (figs. 14–15) – their principal residence throughout this period until 1456 – is still largely preserved. This late medieval gothic building is undoubtedly one of the most important structures of its kind in present-day Slovenia. Today it is known as ‘Knežji dvor’. On the location of the older castle of their predecessors, the Counts of Heunburg, in a corner of the town directly above the remains of the Roman town gate, the Cillis erected a new building over several decades in the second half of the 14 th century (figs. 16–18). It was vividly described by the Italian Paolo Santonino, visiting Celje in 1487, as “the most beautiful palace, high, with towers and ram - parts, surrounded with a wide ditch from three sides and a river and town walls on the fourth /.../. The distinguished lords Counts used to live there when they were in the town”. 30 With luxurious architecture details – beautiful gothic windows, a chapel with frescoes – and with two representa - tive halls, it was clearly a ‘showpiece’ of the aspiring noble family (figs. 19–20). 31 On the front of the 27 A house with a hof in Ljubljana was donated to Frederick of Sannegg in 1339 by Duke Albert II. Frederick was at that time captain of Carniola. In 1406 Count Hermann II gave it in fief to Carniola‘s Vizedom with the explicit instruction that he was obliged to offer it to the count whenever he came to the town. With the Ortenburg inhe - ritance in 1418, another house in Ljubljana was acquired. In 1422 it was given in fief to the Carinthian nobleman Ulrich Schenk of Osterwitz. ARS, SI AS 1063, 1339 VII 6 Vienna; 1406 XII 2 Celje; Österreichisches Staatsarchiv, Haus-, Hof- und Staatsarchiv (ÖStA/HHStA), Vienna, Allgemeine Urkundenreihe, 1422 VIII 31 Celje. 28 A house in Graz, the capital of Styria, was bought in 1379 by Count Hermann I of Cilli. It was located next to the house of the Archbishop of Salzburg. ARS, SI AS 1063, 1379 VII 29. 29 The town of Varaždin in Slavonia was acquired by Count Hermann II from King Sigismund in 1399. In the exis - ting town castle at the beginning of the 15 th century, the Counts built a new entrance tower, decorated with their painted coat of arms (recently discovered). Diana VUKIČEVIĆ-SAMARŽIJA, Das künstleriche Erbe der Grafen von Cilli in Croatia, in: Celjski grofje 1999 (n. 1), p. 368; SAPAČ 2016 (n. 15), pp. 380–381. 30 V ALLE 1943 (n. 10), p. 265: Habetur insuper in ipso oppido paulo supra domum residentis ipsius domini capitanei palla - tium pulcherrimum alte admodum structum cum turribus et propugnaculis, cui alta et lata fossa adiacet a tribus partibus, et a quarta flumen et muri celeiani. Habitabant in eo Illustres domini comites dum erant inferius in oppido /…/. 31 Gotik in Slowenien (ed. Janez Höfler), Narodna galerija, Ljubljana 1995, pp. 395–396, cat. nr. 231; Ivan STOPAR, Ostra kopja, bridki meči , Ljubljana 2007 (Življenje na srednjeveških gradovih na Slovenskem), pp. 77–80. 19–20. Palace of the Counts of Cilli in Celje, façade and a gothic window 38 MIHA KOSI residential tower, as a part of a gothic window, a propaganda piece left no doubt as to who was the master: the coat of arms of the Counts of Cilli (fig. 21). It is astounding to know that as early as 1356 the Counts were in possession of a palace in the ca - pital of Vienna, a mere 100 metres from Hofburg, the residence of the Habsburg princes (fig. 22). This is in a way understandable given that the Cillis were for the whole of the 14 th century their loyal and very close supporters. Their first house in Vienna was actually bought in 1341, within months of their promotion to the status of Counts. 32 The new palace, bought in 1356, was in the hands of the Counts for a whole century, until they died out in 1456. The initial sum of the purchase shows it was quite extensive, the size of two to three normal house plots and with two upper storeys. 33 A recent survey has confirmed that at the beginning of the 15 th century the palace was reconstructed, the remains from this time still nowadays reaching the second floor. The Cilli palace is today hidden inside the structure of the so called Amalienburg, which has recently undergone systematic arhitectural historical research. 34 In connection with the Cilli palace in Vienna it is worth noting that there was another re - presentative building in their possession in the immediate vicinity, the no less imposing castle Liechtenstein (fig. 23). Counts Herman I and William received it in 1384 in pledge for a large loan from Hans of Stadeck, the last of his line. 35 After his death it remained in the hands of the Counts, for which there is ample written evidence. 36 With a direct view from its towers down to the Impe - rial city, it was surely a show of the Counts‘ considerable prestige. Its role as such was even further augmented by the last Count Ulrich II, who in 1454 – with the famous preacher John of Capistran – founded the Franciscan monastery Maria Enzersdorf below its walls, the last of four monastic establishments founded by the dynasty (fig. 24). 37 The Counts also possessed a residence in the capital of Slavonia – Zagreb, where, in the last three decades of the dynasty especially, they were heavily politically invested. Count Hermann II (in 1406–8 and 1423–35) as well as his grandson Ulrich II (in 1445–56) held the position of a ban of Slavonia – a deputy to the Hungarian king, with the highest judicial and military authority. During the power struggle in Hungary in the spring of 1441, Counts Frederick and Ulrich besieged Zagreb and consequently took hold of Gradec – civitas montis Grecensis (the royal part of Zagreb). 32 In 1341 Count Frederick I of Cilli bought a house close to the parish church of St Michael, within reach of Habs - burg Hofburg . ARS, SI AS 1063, 1341 VIII 15 Vienna; Günther BUCHINGER, Doris SCHÖN, Städtebauliche Entwicklung des Burgviertels – Die Niederlassung der Parteigänger der Habsburger, Die Wiener Hofburg im Mit - telalter. Von der Kastellburg bis zu den Anfängen der Kaiserresidenz (ed. Mario Schwarz), Wien 2015 (Denkschri - ften der philosophisch-historischen Klasse, 443; Veröffentlichungen zur Kunstgeschichte, 12; Veröffentlichungen zur Bau- und Funktionsgeschichte der Wiener Hofburg, 1), p. 148. 33 The palace was sold in 1356 by Johann, the last Count of Pfannberg, to his uncle Frederick I of Cilli, with the consensus of Duke Albert II. ARS, SI AS 1063, 1356 V 24; BUCHINGER, SCHÖN 2015 (n. 32), pp. 147–148. 34 BUCHINGER, SCHÖN 2015 (n. 32), p. 148. 35 ARS, SI AS 1063, 1384 II 10. 36 A number of deeds, preserved in the archive in Ljubljana, testify to the Counts᾿ ownership of Liechtenstein castle. They pertain primarily to the property in the vicinity of the castle and the tithes, which were mostly fiefs from the abbey of Melk. ARS, SI AS 1063, 1404 V 7 Vienna; 1412 VIII 13 Melk; 1425 I 20 Vienna; 1425 II 14 Ebenfurt; 1427 IX 5 Melk; 1436 XI 27 Vienna. 37 Johannes HOFER, Johannes Kapistran. Ein leben im Kampf um die Reform der Kirche, 2, Heidelberg 1965 (Bib - liotheca Franciscana, 2), pp. 325–326. In a letter to Kapistran, dated 1455 III 31, Count Ulrich explicitly mentions his erectio monasterii novi, quam sub castro nostro Liechtenstein, videlicet in Enzerstorff, fieri affectavimus /…/; cited after Placidus HERZOG, Cosmographia austriaco-franciscana, seu Exacta descriptio provinciae Austriae Or - dinis Minorum strictioris observantiae , 1, Köln 1740, pp. 552–553. The monastery was totally devastated during two wars with the Ottomans in 1529 and 1689 and was later rebuilt in baroque stile. 39 REPRESENTATIVE BUILDINGS OF THE COUNTS OF CILLI – AN EXPRESSION OF DYNASTIC PROPAGANDA 21. Coat of arms of the Counts of Cilli, once the upper part of a gothic window on the residential tower, late 14 th century, Celje Regional Museum 22. Hofburg district in Vienna in 1440, a reconstruction, with Habsburg palace, the parish church of St Michael (right) and the church of Friars Minor (left); marked is the location of Cilli palace, today Amalienburg 40 MIHA KOSI Count Ulrich II therefore became lord of the city for a decade and a half. He he had a castle here (castellum ), installed his captain and received the usual income of a prosperous capital. 38 It seems that the Count᾿s wife, Katarina Branković of Serbia, frequently resided in Zagreb, and she was in possession of the town as well as the castle even some years after Ulrich ᾿s death (until 1461). 39 The 38 Already in June 1442 the Counts were called by the citizens domini nostri graciosi . Ivan Krst. TKALČIĆ, Mo- numenta historica liberae regiae civitatis Zagrabiae. 2: Diplomata: 1400–1499 , Zagreb 1894, pp. 183–184, 270, 295–296; Ivan Krst. TKALČIĆ, Monumenta historica liberae regiae civitatis Zagrabiae. 6: Libri citationum et sen - tentiarum (ann. 1412–1448) , Zagreb 1900, pp. 363–364; Ivan KAMPUŠ, Odnosi grofova Celjskih i zagrebačkog Gradeca, Historijski zbornik , 29–30, 1976/77, pp. 162–166; Nada KLAIĆ, Povijest Zagreba. 1: Zagreb u srednjem vijeku , Zagreb 1982, pp. 147–156. 39 In July 1445 Katarina was domina nostra graciosa of Zagreb. In 1453 she received 40 marks of yearly tax from her town judge in Zagreb. Young King Ladislas in september 1457 demanded restitution of castellum illud, quod in civitate nostra montis Grecensis edificatum existit, cum gubernacionem eiusdem civitatis nostre from her . In May 1461 she sold all her possessions in Slavonia, including civitatem montis Grecensis juxta Zagrabiam , for 62.000 florins. TKALČIĆ 1894 (n. 38), pp. 230, 252–253, 279; TKALČIĆ 1900 (n. 38), p. 421. 23. Joannes Janssonius van Waesberghe: Castle Liechtenstein, Enzersdorf (left) and Vienna in the distance, around 1680 24. Franciscan monastery Maria Enzersdorf, with the coat of arms of the founder, in: Placidus Herzog, Cosmographia austriaco- franciscana, Köln 1740 41 REPRESENTATIVE BUILDINGS OF THE COUNTS OF CILLI – AN EXPRESSION OF DYNASTIC PROPAGANDA building on the site of the old Arpad royal castle, beside the town walls and close to the church of St Catherine (fig. 25), was thoroughly reconstructed by Count Ulrich (enclosed with a wall and ditch). After 1606 it was incorporated into the new Jesuit monastery and its remains are today al - most indiscernible. 40 Considering the fact that count Hermann II of Cilli was a confidant, the closest ally and soon to be father-in-law of the Hungarian King Sigismund, it was only natural that he would possess a residence also in the Hungarian capital of Buda, where he was a frequent visitor. 41 In April 1397, within days of his return from the Nicopolis campaign, the King bestowed upon him a mansion on castle hill in Buda ( domum seu fundum curie in castro civitatis Budensis ), which had been con - fiscated from the rebellious, subsequently executed, Baron Stephen Lackfy. It lay close to the Do - minican convent of St Nicholas and (later) the house of Stephen, deceased physician of the King (fig. 26). 42 A beautiful glazed tile with the Cilli coat of arms and the sign of the King ᾿s Order of the 40 KLAIĆ 1982 (n. 38), pp. 198–200; VUKIČEVIĆ-SAMARŽIJA 1999 (n. 29), p. 368; SAPAČ 2016 (n. 15), p. 383, n. 158. 41 See DVOŘÁKOV Á 2017 (n. 1), passim. 42 Elemér MÁLYUSZ, Zsigmondkori okléveltár. 1: 1387–1399 , Budapest 1951, nr. 4701, p. 519: / …/ domum seu fun- dum curie in castro civitatis Budensis prope claustrum beati Nicolai confessoris in vicinitate domorum Nicolai de 25. Plan of Zagreb (Gradec) in the 15 th century with the Cilli ‘castellum’ (nr. 6), Church of St Catherine (nr. 7), royal palace (nr. 11) and Church of St Mark (nr. 14) 42 MIHA KOSI 26. Plan of Buda castle district at the beginning of the 15 th century, with the Dominican convent of St Nicholas (E) 43 REPRESENTATIVE BUILDINGS OF THE COUNTS OF CILLI – AN EXPRESSION OF DYNASTIC PROPAGANDA Dragon (Hermann was original member from 1408), found by archaeologists inside the Castle District of Buda, could plausibly be connected with this Cilli palace (fig. 27). Speaking of tiles with the Cilli em - blem, we cannot avoid also mentioning the old fortress of Belgrade (once »the upper town «), where such fragments were also found. 43 Belgrade – an enormously impor - tant Hungarian border fortress-town ‘Nán- dorfehérvár ’ – was where the last Count Ulrich II was assasinated in a plot on 9 November 1456. 44 Given that Ulrich was a leading Hungarian baron at the time – re - cently having become gubernator regni –, and married to Katarina, daughter of the Serbian despot George Branković from 1434, the mentioned archaeological finds should not be a surprise. The tiles were ob - viously part of a stove from the Cilli palace in the upper town of Belgrade, which still stood even sixty-five years after the counts died out in 1456, and was then still known by their name. It is explicitly mentioned as the palace of the Conte di Cilia in the report of the Venetian ambasador from Buda during the Ottoman siege of Belgrade in 1521, when it collapsed on the attackers digging under it. The ambasador even noted that the palace was built by the Count in 1455. 45 It was mentioned as domus or palacium also in a number of ac - counts of the fateful events of November 1456, accompanied by the assertion that it was a possession of Count Ulrich II, who often stayed there. 46 It is highly possible that Ulrich spent the last night of his life in November 1456 in this palace, as indirectly suggested by a reliable Chronicon Austriacum , 47 Agria civis Budensis a plaga septemtrionali, ab inferirori vero parte domus honorabilis viri prepositi ecclesie We - sprimiensis sitam /…/. Hermann was engaged in decades long litigation over this mansion with the widow of the executed palatine Lackfy, who donated it to the Church. See Monumenta diplomatica civitatis Budapest. Tomus tertius: 1382–1439 (ed. Lajos Bernát Kumorovitz), Budapest 1987, p. 103, no. 875 (1425 VII 13). 43 On the finds see Marija BAJALOVIĆ-HADŽI-PEŠIĆ, Ugarski pečnjaci u beogradskom srednjovekovnom gradu, Godišnjak grada Beograda , 23, 1976, pp. 25, 31. 44 In detail GRABMAYER 2003 (n. 1), pp. 302–309. 45 /…/ Turchi fe una fossa, la qual andaua subteranea fino in dita rocha in uno palazo fece il Conte di Cilia dil 1455 al tempo dil padre di Re Mathias /…/. Letter was preserved in the diaries of Marino Sanuto and published by Gusztáv WENZEL, Marino Sanuto világkrónikájának Magyarországot III, Magyar történelmi tár , 25, 1878, p. 239; Ignacij VOJE, Balkanska politika celjskih grofov, Celjski grofje 1999 (n. 1), p. 112. 46 Different accounts by Thuroczy, Bonfini, Ranzano and Ðorđe Sremac were published in: Građa za istoriju Beogra - da u srednjem veku (ed. Mihailo J. Dinić) , 1, Beograd 1951, pp. 28, 39, 63. 47 According to the chronicle, when they arrived with ships on the Danube, Count Ulrich and King Ladislas were escorted in das hauss that stand in dem schloss (upper town). The Count spent the night in his room ( in seinem zim - mer ) and in the morning heard the mass (possibly in his private chapel), before leaving to meet his fate. The Chroni - con Austriacum 1454–1467 was published in: Heinrich Christian SENCKENBERG, Selecta juris et historiarum tum anecdota tum jam edita, sed rariora , Frankfurt am Main 1739, pp. 17–23; GRABMAYER 2003 (n. 1), pp. 303–305. 27. Glazed tile with the coat of arms of the Counts of Cilli and the emblem of the King‘s Order of the Dragon, first half of the 15 th century, Budapesti Történeti Múzeum, Budapest 44 MIHA KOSI 28. Territories of the Counts of Cilli in 1456 and possibly even died in it. His body was brought back to his hometown in Celje and solemnly put to rest in the monastery of the Friars Minor, with the other members of his dynasty. 48 Conclusion The Counts of Cilli are an outstanding example of the ‘international’ high nobility of the 15 th cen - tury who conducted their politics virtually unobstructed by state or territorial borders, and who between 1400 and 1456 excerted a strong impact on the whole of Central Europe. In accordance with their importance and prestige, their representative buildings – castles and palaces – were 48 GRABMAYER 2003 (n. 1), pp. 309–316. 45 REPRESENTATIVE BUILDINGS OF THE COUNTS OF CILLI – AN EXPRESSION OF DYNASTIC PROPAGANDA undoubtedly also a strong instrument of dynastic propaganda. Even though they built only a hand - ful completely anew, their architectural legacy in general is highly diverse and genuinely immense. As yet still not thoroughly researched, it ranges from endowed small country churches to pilgrim centers (as Ptujska Gora/Maria Neustift), monastic institutions and castles/palaces. 49 We should not fail to mention that between 1400 and 1456 they also founded four new monasteries – Lepogla - va (around 1400, Pauline), Pleterje/Pletriach (between 1403 and 1407, Chartusian), Novi Klošter/ Neukloster (between 1449 and 1453, Dominican) and Maria Enzersdorf (1454, Franciscan), where their memoria (and propaganda) would have been kept alive appropriately, and eternally. 50 Perhaps it is high time to give them proper historical credit for what they were also in regard to their archi - tectural/artistic legacy, which was also the aim of this modest contribution. 51 49 See articles in Celjski grofje 1999 (n. 1), especially Jože MLINARIČ, Celjani in njihov odnos do samostanov, pp. 125–142; Zdenko BALOG, Majstorska radionica u službi Hermana Celjskog, pp. 325–336; Ivan SRŠA, Međimur - sko graditeljstvo u doba celjskih grofova, pp. 349–362; VUKIČEVIĆ-SAMARŽIJA 1999 (n. 29), pp. 363–374. 50 On their relation to Chartusian order see Mija Oter Gorenčič, Die Kartäuserpolitik der Grafen von Cilli – ein Vorbild für die Habsburger?, Acta historiae artis Slovenica , 25/2, 2020, pp. 49–65. 51 Research for this paper has been conducted within the core funding programme Basic Research of Slovene Cul - tural Past (P6-0052 (A)) funded by the Slovenian Research Agency, and the research project Visual Arts between Censorship and Propaganda from the Middle Ages to the End of World War I (L7-8282) funded by the Slovenian Research Agency and the Slovenian Academy of Sciences and Arts. 46 MIHA KOSI Reprezentativne zgradbe grofov Celjskih – izraz dinastične propagande Povzetek Grofje Celjski so bili nedvomno najpomembnješa srednjeveška plemiška rodbina z izvorom na dana - šnjem slovenskem ozemlju. Od začetka 14. stoletja lahko sledimo njihovemu kontinuiranemu vzponu, ki je dosegel višek s povzdigom v državne kneze Svetega rimskega cersarstva leta 1436. Kot elitna evropska visokoplemiška dinastija so skrbeli za temu primerno izražanje prestiža in moči, del česar so bile tudi reprezentativne zgradbe. V okvir dinastične politike je sodila »grajska politika« – gradnja oziroma pri - dobivanje gradov v posest. Celjski so glede tega edinstven primer, ki nima vzporednice v Srednji Evropi. V dobrem stoletju so do leta 1425 v svoje roke pridobili več kot 125 gradov od Zgornje Koroške preko Kranjske in Štajerske globoko v Slavonijo ter do meja Bosne. Od te izjemne količine zgradb so jih sami popolnoma na novo zgradili le štiri ali pet, sicer so le dograjevali, širili in modernizirali obstoječe. Njiho - va izjemno obsežna gradbena dediščina, ki zajema razpon od malih podružničnih kapel preko mestnih in romarskih cerkva (opatijska cerkev v Celju, Ptujska Gora), samostanov (Pleterje, Lepoglava, Novi Klo - šter, Maria Enzersdorf) pa vse do gradov in mestnih palač, še ni celovito proučena. Celjska grajska politika je temeljila na izjemno učinkovitem finančnem poslovanju, ki je, poleg nakupov, omogočalo prevzemanje gradov v zastavo za finančna posojila, vojno službo ali odplačevanje dolgov zadolženega plemstva. Na tak način so imeli zgolj od deželnih knezov – Habsburžanov – 60 do 70 let v zastavi več kot 20 pomembnih gradov. V članku so podrobneje obravnavani nekateri strateško pomembni, prestižnejši gradovi, gradovi, ki so jih zgradili Celjski sami, in njihove mestne palače v urba - nih središčih. Vipava in Postojna – zastavljeni habsburški posesti – sta Celjskim omogočali strateški nadzor nad prometnimi dostopi iz Italije preko kraških prelazov na Kranjsko in dalje proti Ogrski (v celjskih rokah sta bili od leta 1357 oziroma 1372 do leta 1427). Na južni in severozahodni meji Kranjske (in celjskih te - ritorijev) so grofje v zadnjih desetletjih pred izumrtjem sami zgradili dva nova gradova: Mokrice in Belo Peč/Weissenfels. Prvi je bil reprezentativna zgradba neposredno na državni meji cesarstva, tik nad mej - nim prehodom pri Bregani (prvič omenjen v virih leta 1447). Drugi, na meji Kranjske proti koroškemu gospostvu bamberškega škofa (v Kanalski dolini), pa je bil grajen od leta 1431 kot izraz celjske oblasti na enem od dostopov s Koroške. Na samem Koroškem so imeli grofje med letoma 1372 in 1427 v rokah tudi enega najprestižnejših habsburških gradov, ki je že s samim imenom simbolno predstavljal knežjo oblast – Landskron. Z lego neposredno nad bamberškim Beljakom je grofom omogočal strateško premoč (leta 1425 fajda z Bam - bergom in obleganje Beljaka). Podobno prestižno vlogo je imel tudi celjski grad Liechtenstein južno od Dunaja, celjska last (s krajšo prekinitvijo) med letoma 1384 in 1456. Omenjeni gradovi so imeli bolj strateško/simbolno kot pa rezidenčno vlogo. Grad Fridrihštajn nad Kočevjem, ki ga je med letoma 1422 in 1425 zgradil grof Friderik II., pa je združeval obe funkciji. Poleg propagandnega učinka (ime) je imel – glede na položaj sredi obsežnih gozdov – nedvomno sporadično tudi rezidenčno vlogo kot kraj oddiha. Najprestižnejše celjske zgradbe so bile gotovo palače v urbanih okoljih. Poleg palače v Celju (Knežji dvor, zgrajen v drugi polovici 14. stoletja) so imeli v svoji lasti rezidence v Ljubljani (od 1339), Gradcu (1379), na Dunaju (1341), v Zagrebu (1441), Budimu (1397) in Beogradu (ok. 1455). Najpomembnejša je bila nedvomno rezidenca na Dunaju v neposredni bližini habsburškega Hofburga. Prvo hišo v mestu so Celjski kupili že nekaj mesecev po povzdigu v grofe leta 1341, leta 1356 pa je sledil nakup elitne pala - 47 REPRESENTATIVE BUILDINGS OF THE COUNTS OF CILLI – AN EXPRESSION OF DYNASTIC PROPAGANDA če, ki je ostala v njihovi lasti celo stoletje, do izumrtja leta 1456, in je v zadnjih letih deležna intenzivnih raziskav (današnji Amalienburg). Zaradi tesne povezave grofa Hermana II. z ogrskim kraljem Sigismundom po bitki pri Nikopolju (1396) je že naslednje leto sledila pridobitev palače na grajskem griču v Budimu (dar samega kralja). Re - zidenca je stala poleg dominikanskega samostana sv. Nikolaja. Lepe glazirane pečnice s celjskim grbom, najdene na arealu budimskega kastruma, so bile nedvomno del te elitne celjske zgradbe. Rezidenca (kastel) v Zagrebu je bila povezana s celjskim prevzemom oblasti nad mestom po oblega - nju leta 1441 (in ne šele 1445, kot je običajno mnenje). Stala je na lokaciji starega arpadovskega kastruma v bližini cerkve sv. Katarine (danes je v sklopu leta 1606 zgrajenega jezuitskega kolegija). Celjski kastel je še do leta 1461 imela v posesti vdova Ulrika II. Katarina Branković, ki ga je leta 1461 prodala skupaj z ostalimi slavonskimi posestmi. Najmanj poznana je palača grofa Ulrika II. v Beogradu – v nekdanjem Zgornjem mestu (na Kale - megdanu). Beograd je bil sredi 15. stoletja izjemno pomembno ogrsko trdnjavsko mesto na meji proti Turkom. Arheologi so že pred desetletji odkrili ostanke pečnic s celjskim grbom, ki so bile očitno nekoč del celjske palače. Njen obstoj še 65 let po smrti grofa Ulrika II. potrjuje pismo beneškega ambasadorja, ki omenja razrušitev »palače grofa Celjskega« v teku turškega obleganja Beograda leta 1521. Palača naj bi bila po njegovem poročilu zgrajena leta 1455. Ulrik II. je najverjetneje v njej preživel tudi zadnjo noč svojega življenja pred atentatom 9. novembra 1456. Celjski grofje so bili izjemen primer »internacionalnega« visokega plemstva poznega srednjega veka, ki je vodilo svojo ambiciozno politiko ne oziraje se na deželne ali državne meje. Njihova dediščina – tudi arhitekturna – je enormna in prisotna v vrsti srednjeevropskih držav. Čas je, da dobijo tudi v tem pogledu zgodovinsko priznanje, njihova dediščina pa temu primerno znanstveno obravnavo. APPARATUS 353 ACTA HISTORIAE ARTIS SLOVENICA 25|2 ∙ 2020, 353–360 Izvlečki in ključne besede Abstracts and keywords Martin Bele Je res to storil? Friderik V . Ptujski – strahopetec ali žrtev? 1.01 Izvirni znanstveni članek Članek obravnava spor med štajerskima plemiškima rodbinama s sedežema na Ptuju in Liechtensteinu, ki se je kratek čas odvijal v 13. stoletju. Nekatere spise, ki so nastali v kontekstu tega spora, imamo lahko za prve ohranjene primerke srednjeveške propagande ene šta - jerske rodbine proti drugi. Namen članka je obravnavati najpomembnejši narativni vir tistega časa, t. i. Štajersko rimano kroniko Otokarja iz Geule, ki je bil v službi liechtensteinske rodbine. Eden od ciljev kronike je bil predstaviti Friderika V. Ptujskega kot strahopetca, ki naj bi bil pobegnil iz bitke na Moravskem polju. Članek predstavlja razloge za spor in njegov potek, dejansko obtožbo strahopetnosti, presojo resnice za obtožbo ter epilog celotnega spora med rodbinama. Obema štajer - skima plemičema – Otonu II. Liechtensteinskemu in Frideriku V. Ptujskemu – se je v začetku osemdesetih let 13. stoletja uspel o pobotati, kar sta poudarila tudi z medsebojno poroko svojih otrok. Ključne besede: srednjeveški spor, vojvodina Štajerska, 13. stoletje, Štajerska rimana kronika , Otokar iz Geule, Oton II. Liechtensteinski, Friderik V. Ptujski, bitka na Moravskem polju, propaganda Jan Galeta Narodni domovi na Moravskem in v avstrijski Šleziji pred letom 1914. Arhitektura in likovna umetnost kot priložnost za manifestacijo nacionalne pripadnosti 1.01 Izvirni znanstveni članek Tako imenovani narodni domovi so ena izmed poseb - nosti ne le arhitekture temveč tudi narodnega preporo - da na območju habsburškega cesarstva v obdobju od ok. Martin Bele Did he Really Do it? Frederick V of Ptuj – Coward or Victim? 1.01 Original scientific article The article addresses the brief 13 th century dispute be - tween the Styrian noble families of Ptuj (German: Pettau) and Liechtenstein. The related texts should be considered as some of the earliest still preserved examples of medi - eval propaganda of one Styrian family against an other. The paper’s purpose is to highlight the most important narrative source of the time, Ottokar aus der Gaal’s Sty - rian Rhyme Chronicle . This Chronicle was written by a Liechtenstein vasal, and was meant to portray Frederick V of Ptuj as a coward – specifically during the battle on the Marchfeld. The article discusses the reason behind and the course of the feud, the actual accusation of cow - ardice, the validity of the accusation and lastly the epi - logue of the whole dispute between the parties. Both of the Styrian nobles involved – Otto II of Liechtenstein and Frederick V of Ptuj – obviously came to an agreement sometime in the early 1280s and sealed hostilities with a marriage of their children. Keywords: medieval dispute, duchy of Styria, 13 th cen- tury, Styrian Rhyme Chronicle , Ottokar aus der Gaal, Otto II of Liechtenstein, Frederick V of Ptuj, battle on the Marchfeld, propaganda Jan Galeta National Houses in Moravia and Austrian Silesia before 1914. Architecture and Fine Arts as an Opportunity for the Manifestation of National Allegiance 1.01 Original scientific article National Houses are one of the phenomena not only of the architecture but also of the national revivals in the territory of the Habsburg Empire in ca. 1850–1914. These 354 IZVLEČKI IN KLJUČNE BESEDE / ABSTRACTS AND KEYWORDS leta 1850 do leta 1914. Ta središča družabnega življenja so gradila društva in združenja, ne samo za svoje sede - že, temveč tudi z namenom privabiti čim širše občinstvo in s svojimi gledališkimi igrami, plesi, proslavami, pre - davanji ali restavracijami spodbuditi narodno zavest. Na Moravskem in v Šleziji so tovrstne objekte gradili Čehi, Nemci in Poljaki. Stavbe s tako jasno opredeljeno nacionalno funkcijo so ponujale tudi priložnost z nacionalno propagando na - govoriti tako svojo okolico kot tudi obiskovalce. To je bilo mogoče doseči z različnimi sredstvi: z izbiro arhi - tekturnega sloga, ikonografijo arhitekturne dekoracije in umetniških del, prireditvami ob slavnostnih otvoritvah narodnih domov in govori na teh dogodkih, kampanja - mi v časopisju, katerih namen je bil očrniti narodne do - move nasprotnega naroda in njihove obiskovalce ter tudi t. i. »odpadnike«. Članek na konkretnih primerih in v širšem kontekstu predstavlja povezavo med arhitekturo in nacionalno propagando. Ključne besede: narodni domovi, zgodovina arhitektu - re, nacionalizem, Moravska, Šlezija, nemška hiša Susanne König-Lein Habsburški mavzolej v sekovski samostanski cerkvi 1.01 Izvirni znanstveni članek S tem ko je nadvojvoda Karel II. Avstrijski kot prostor za svoj pokop in pokop svoje družine izbral samostansko cerkev v Sekovi (Seckau), je poudaril njen status stolne cerkve sekovske škofije, ki je bil s širjenjem protestan - tizma v drugi polovici 16. stoletja ogrožen. Gradnjo in opremljanje mavzoleja v letih 1587–1612 so v glavnem izvedli severnoitalijanski stavbarji, slikarji in štukater - ji. Po eni strani so bili sposobnejši, po drugi strani pa so bili, drugače kot štajerski umetniki, katoliške vere. Delo in izbrani materiali so predstavljali velik strošek. Po smrti nadvojvode sta si njegova vdova, nadvojvo - dinja Marija, in kasneje njegov sin, nadvojvoda Ferdi - nand, kljub finančnim težavam prizadevala mavzolej dokončati. Kompleksna ikonografija reliefov na epitafu in slopih ter na stropnih in stenskih poslikavah aludi - ra na nadvojvodo Karla II in njegovo družino v smislu glorifikacije predstavnikov in zaščitnikov katoliške vere. Habsburški mavzolej je kot celostna umetnina sijajna manifestacija začetka protireformacije. Ključne besede: Habsburžani, Notranja Avstrija, proti - reformacija, mavzolej, nadvojvoda Karel II. Avstrijski, nadvojvodinja Marija, Alexander de Verda, Teodoro Ghisi, Sebastiano Carlone centres of social life were built by clubs and associations, not just as their private seats, but to attract a greater au - dience and boost national enthusiasm through theatre plays, balls, fests, lectures, or welcoming restaurants. In the case of Moravia and Silesia, these houses were built by Czechs, Germans, and Poles. It is evident that buildings with such clearly nationally orientated functions allowed for national propaganda to reach out to their surroundings as well as their visitors. This was accomplished by several means: the architec - tural style itself; the iconography of architectural decora - tion and works of art; the festivities accompanying the ceremonial openings of national houses and the speeches given at these events; the campaigns led by the press to defame opposing national houses and their visitors, as well as so-called ‘renegades’. Thus, the paper presents a connection between architecture and national propa - ganda and demonstrates it through specific examples in a broad period context. Keywords: National Houses, history of architecture, na - tionalism, Moravia, Austrian Silesia, Deutsches Haus Susanne König-Lein The Habsburg Mausoleum in Seckau Monastery Church 1.01 Original scientific article With the choice of the Seckau collegiate church as a bur - ial place for himself and his family, Archduke Karl II em - phasized its status as the cathedral church of the diocese of Seckau, which was endangered by the spread of Pro- testantism in the second half of the 16 th century. The con - struction and furnishing of the mausoleum in the years 1587 to 1612 were mainly carried out by northern Italian builders, painters, and plasterers who, on the one hand had special abilities, and on the other hand – in contrast to the Styrian artists – were Catholics. Large funds had to be raised for their fees and for the selected material. After the Archduke’s death, his widow, Archduchess Ma - ria, and later his son, Archduke Ferdinand, were very keen on completing the mausoleum despite difficulties in funding. The complex iconography of the reliefs on the epitaph and on the pillars, as well as the ceiling and wall paintings, refers several times to Archduke Karl and his family in order to glorify the regent as representative and protector of the Catholic faith. As a “Gesamtkunstwerk” , the Habsburg Mausoleum is a splendid manifestation of the beginning of the Counter-Reformation. Keywords: Habsburgs, Inner Austria, Counter-Refor - mation, Mausoleum, Archduke Charles II., Archduchess Mary, Alexander de Verda, Teodoro Ghisi, Sebastiano Carlone 355 IZVLEČKI IN KLJUČNE BESEDE / ABSTRACTS AND KEYWORDS Miha Kosi Reprezentativne zgradbe grofov Celjskih – izraz dinastične propagande 1.01 Izvirni znanstveni članek Grofje Celjski so bili nedvomno najpomembnejša ple - miška rodbina z izvorom na današnjem slovenskem ozemlju. Njihov meteorski vzpon je dosegel zenit s povi - šanjem v državne kneze leta 1436, vendar so že leta 1456 izumrli. Na višku moči so posedovali okrog 125 gradov, kar je bil rezultat več kot stoletja dolge načrtne grajske politike. Eden od načinov izražanja moči in prestiža so bile tudi reprezentativne zgradbe, obenem oblika dina - stične propagande. Članek prikazuje nekatere prestižne zgradbe Celjskih: mestni grad v Celju, njihovo glavno rezidenco, dva strateška gradova na dostopih iz Italije (Vipava, Postojna), tri nove, ki so jih grofje zgradili v 15. stoletju (Bela Peč, Fridrihštajn, Mokrice), dva na presti - žnih lokacijah na Koroškem (Landskron) oziroma pri Dunaju (Liechtenstein) in njihove mestne rezidence na Dunaju, v Zagrebu, Budimu in Beogradu. Ključne besede: grofje Celjski, gradovi, grajska politika, srednji vek, palača, Celje, Dunaj, Zagreb, Budim, Beo - grad Tina Košak Med uniformnim in edinstvenim. Upodobitve dobrotnikov cistercijanskega samostana Stična 1.01 Izvirni znanstveni članek Članek obravnava najobsežnejši ohranjeni sklop upo - dobitev dobrotnikov iz slovenskih samostanov, tj. por - trete dobrotnikov in deželnih knezov iz cistercijanskega samostana Stična. Osredotoča se na tipologijo, pomen in slogovne značilnosti z ozirom na sorodne ohranjene cikle iz (notranje)avstrijskih samostanov in z ozirom na njihove likovne in pisne vire. Celopostavni portretni upodobitvi vojvode Leopolda III. in njegove soproge Viride (Narodna galerija, Slovenija), doslej pripisani Ferdinandu Stainerju, razkrivata izrazite sorodnosti s serijo šestih celopostavnih upodobitev dobrotnikov ci - stercijanskega samostana Vetrinj Ferdinanda Fromiller - ja. Atribucijo Fromillerju omogoča tudi Fromillerjeva risba dobrotnika, identičnega Leopoldu III., v Koro - škem deželnem arhivu. Tudi primerjalna analiza dese - tih ovalnih portretov stiških dobrotnikov in deželnih knezov omogoča tezo, da so dela nastala v Fromillerjevi delavnici. Portreti so nastali v naslonu na ilustracije v knjigah portretov, kot vir napisov na spodnjem delu Miha Kosi Representative Buildings of the Counts of Cilli – an Expression of Dynastic Propaganda 1.01 Original scientific article The Counts of Cilli (Celje) were undoubtedly the most important noble family to originate from the area of present-day Slovenia. Their meteoric rise reached its peak with their elevation to the rank of imperial princes in 1436, although the dynasty died out in 1456. At the height of their might they possessed more than 125 castles, the result of a century-long deliberate castle politics. One dis - tinct way to express might and prestige was through rep - resentative buildings, in itself also a dynastic propaganda. This article presents some of the Cilli’s more prestigious buildings: The town palace in Celje, their main residence, two strategic castles on the approaches from Italy (Wip - pach/Vipava, Adelsberg/Postojna), three new fortifica - tions built by the counts themselves in the 15 th century (Weißenfels, Friedrichstein, Mokrice), two on prestigious locations in Carinthia (Landskronn) and above Vienna (Liechtenstein), and their residences in the urban envi - ronments of Vienna, Zagreb, Buda and Belgrade. Keywords: Counts of Cilli, castles, castle politics, Mid - dle Ages, palace, Celje, Vienna, Zagreb, Buda, Belgrade Tina Košak Between Uniformity and Uniqueness. Depictions of Benefactors of Stična Cistercian Abbey 1.01 Original scientific article The article focuses on the largest surviving ensemble of portraits of lay dignitaries from Slovenian monasteries, i.e. depictions of the benefactors from Stična abbey. It draws particular attention to their typology, compari - sons with similar surviving works from (Inner) Austrian monasteries as well as their models and written sources. Full-figure life-size depictions of Leopold III, Duke of Austria and his wife Viridis (National Gallery of Slove - nia, Ljubljana), hitherto ascribed to Ferdinand Stainer, reveal strong parallels with a series of six benefactors of Viktring abbey by Josef Ferdinand Fromiller, now in the Carinthian State Museum in Klagenfurt, and can be, based on Fromiller’s benefactor drawing, which is identi - cal to Leopold III, attributed to Fromiller. Similarly, com - parative analysis of ten oval portraits of the provincial princes and benefactors of Stična (in the National Gallery and the National Museum of Slovenia) reveals that they were also most probably made in Fromiller’s workshop, closely following illustrations in portrait books, which 356 ovalov pa je bila identificirana leta 1719 dokončana I d io g r a p h ia Pavla Puclja. Ključne besede: upodobitve dobrotnikov, portret, knjige portretov, Stična, Josef Ferdinand Fromiller, Ferdinand Stainer, Leopold III. Avstrijski, Virida Visconti Vesna Krmelj Narodi gredo svojo silno pot. Položaj in ustvarjalnost likovnih umetnikov med prvo svetovno vojno na Kranjskem med cenzuro in propagando 1.01 Izvirni znanstveni članek Prispevek z vidika cenzure in propagande obravnava pogoje za umetniško produkcijo v času vojnega ab - solutizma na Kranjskem, kjer je generacija slovenske moderne in impresionistov šele vzpostavljala pogoje za institucionalni razvoj slovenske umetnosti in s tem posledično tudi za uspešno propagando. Številni umet- niki zato v vojni propagandi niso našli le možnosti za preživetje, temveč so v povečanem obtoku in pomenu vizualnih sporočil hkrati prepoznali tudi priložnost za uveljavitev tako osebnih kot narodnih idealov. Kljub prevladujočim avstrijsko-germanskim vzorcem so skozi likovno tradicijo narodne pokrajine, ljudsko umetnost in slovensko poezijo našli načine za spodbujanje sloven - ske nacionalne zavesti. Ključne besede: umetnost med prvo svetovno vojno, produkcijski pogoji, Kranjska, cenzura in propaganda, nacionalna pokrajina, Josip Mantuani, Ivan Vavpotič, križani vojak, Jakopičev paviljon, recepcija Franci Lazarini Nacionalni slogi kot propagandno sredstvo prebujajočih se narodov. Slovenski in drugi nacionalni slogi v arhitekturi okoli leta 1900 1.01 Izvirni znanstveni članek Prispevek obravnava različne nacionalne arhitekturne sloge, značilne za arhitekturo zadnjih desetletij Habs - burške monarhije, na območju Slovenije, jih umešča v sočasno avstro-ogrsko arhitekturno produkcijo in sku - ša opredeliti njihovo propagandno vlogo. Predstavljeni so poskusi Ivana Jagra, Cirila Metoda Kocha in Ivana Vurnika za oblikovanje slovenskega nacionalnega slo - ga, obravnavani pa so tudi primeri češkega in nemškega are identified here. Moreover, the chronicle of Stična ab - bey by Paolo Puzel dating to 1719, has been identified as the source of the inscriptions on the lower part of the oval portraits. Keywords: depictions of benefactors, portraiture, portrait books, Stična (Sittich) abbey, Josef Ferdinand Fromiller, Ferdinand Stainer, Leopold III, Viridis Visconti Vesna Krmelj The Nations Go Their Own Way. The Position and Creativity of Artists in Carniola between Censorship and Propaganda during the First World War 1.01 Original scientific article The article discusses the conditions for art production at the time of war absolutism in Carniola from the point of view of censorship and propaganda. In Carniola, the gene ration of the Slovene moderna and the impressionists had only begun to establish the conditions for an institu - tional development of Slovene art and, consequently, for successful propaganda. This is the reason why numerous artists found in war propaganda not only possibilities for survival, but they also recognised in the increased circula - tion and meaning of visual messages an opportunity to establish personal and national ideals. Despite prevalent Austrian and German models, they found ways to en - courage Slovene national awareness through the art tradi - tion of national landscape, folk art, and Slovene poetry. Keywords: art during the First World War, production circumstances, Carniola, censorship and propaganda, national landscape, Josip Mantuani, Ivan V avpotič, cruci - fied soldier, Jakopič Pavilion, reception Franci Lazarini National Styles as a Means of Propaganda of the Awakening Nations. Slovenian and Other National Styles in Architecture around 1900 1.01 Original scientific article The article addresses various national architectural styles characteristic of architecture of the last decades of the Habsburg Monarchy on the territory of Slovenia. It places them within concurrent Austro-Hungarian architectural production and tries to determine their propaganda role. It presents Ivan Jager, Ciril Metod Koch and Ivan V urnik’ s efforts for designing Slovenian national style, while it also discusses examples of Czech and German national IZVLEČKI IN KLJUČNE BESEDE / ABSTRACTS AND KEYWORDS 357 nacionalnega sloga (nemške neorenesanse). V zaključ - nem delu avtor ovrže opredelitev opusa Lászla Takátsa v Murski Soboti za primer madžarskega nacionalnega sloga. Ključne besede: arhitektura, Slovenija, Avstro-Ogrska, pozni historizem, secesija, slovenski nacionalni slog, češki nacionalni slog, nemška neorenesansa, madžarski nacionalni slog, propaganda Edgar Lein Gradec in Rim – bazilika sv. Petra kot vzor za cerkev sv. Katarine in mavzolej 1.01 Izvirni znanstveni članek Mavzolej v Gradcu so gradili od leta 1614 dalje po načr - tih Giovannija Pietra de Pomisa, njegov naročnik pa je bil nadvojvoda Ferdinand (od leta 1619 cesar Ferdinand II.). Prvotna zasnova fasade je nastala pod vplivom cer - kvenih pročelij Andrea Palladia. Po letu 1621 je bila fasada povišana z nadstropjem atike, ki poteka okoli celotne zgradbe, in zaključena s trikotnim čelom, nad katerim se pne mogočen segmentni lok. Ta motiv, ki ga je prvi uporabil Michelangelo, najdemo tudi nad portali stolnice v Reggiu Emilii in cerkve Il Gesu v Rimu. Tudi arhitekturna členitev zunanjščine sega vse do Michelan - gelovega osnutka zunanjščine bazilike sv. Petra. Bogate dekorativne oblike imajo milanski ali lombardski zna - čaj. Posrednik rimskih arhitekturnih oblik je bil jezuit Wilhelm Lamormaini, ki je v Gradcu deloval kot sveto - valec in spovednik nadvojvode Ferdinanda in njegove družine in je verjetno imel odločilno vlogo pri preobli - kovanju mavzoleja v spomenik protireformacije. Ključne besede: cerkev sv. Katarine in mavzolej v Grad - cu, Giovanni Pietro de Pomis, cesar Ferdinand II., Wil - helm Lamormaini, jezuiti, Il Gesù, bazilika sv. Petra, pročelja Palladijevih cerkva, milanska in lombardska arhitektura, Michelangelo Mija Oter Gorenčič Kartuzijanska politika grofov celjskih – zgled za Habsburžane? 1.01 Izvirni znanstveni članek V prispevku je raziskano, ali je mogoče prepoznati med - sebojne vplive in zglede v kartuzijanski politiki Habsbur - žanov in grofov Celjskih. Da bi našli odgovor na to vpra - šanje, so bile pregledane listine, ki izpričujejo hkratno styles (the German Neo-Renaissance). In the concluding part, the author disproves the definition of Lászlo Takáts’ oeuvre in Murska Sobota as an example of Hungarian national style. Keywords: architecture, Slovenia, Austria-Hungary, Late Historicism, Art Nouveau, Slovenian National Style, Czech National Style, German Neo-Renaissance, Hun - garian National Style, propaganda Edgar Lein Graz and Rome – St. Peter’s Basilica as a Model for St. Catherine’s Church and Mausoleum 1.01 Original scientific article The Mausoleum in Graz was built after 1614 by Giovanni Pietro de Pomis on commission of Archduke Ferdinand (since 1619 Emperor Ferdinand II). The first design of the façade was influenced by Andrea Palladio’s church fa - çades. After 1621 the façade was raised by an attic storey, which runs around the entire building, and crowned with a triangular pediment, which is vaulted by a mighty seg - mental arch. This motif, first used by Michelangelo, can also be found above the entrance portals of the Cathedral of Reggio Emilia and Il Gesù in Rome. The structure of the outer walls of the building can also be traced back to Michelangelo’s design of the outer walls of St. Peter’s. The rich decorative forms are of Milanese or Lombard character. Jesuit Wilhelm Lamormaini was the mediator of the Roman architectural forms. Active in Graz as an advisor and confessor to Ferdinand and the archducal family he likely held a decisive role in the transforma - tion of the Mausoleum into a Monument of the Counter- Reformation. Keywords: St. Catherine’s Church and Mausoleum in Graz, Giovanni Pietro de Pomis, emperor Ferdinand II, Wilhelm Lamormaini, Jesuits, Il Gesù, St. Peter’s Basilica, façades of Palladio’s churches, milanese and lombard architecture, Michelangelo Mija Oter Gorenčič The Carthusian Policy of the Counts of Cilli – a Model for the Habsburgs? 1.01 Original scientific article The paper discusses whether it is possible to discern mu - tual influences in the Carthusian policy of the Habsburgs and the Counts of Cilli. The documents that attest to the simultaneous connection between the Carthusians, the IZVLEČKI IN KLJUČNE BESEDE / ABSTRACTS AND KEYWORDS 358 povezavo med kartuzijani, Habsburžani in Celjani. Ugo - tovljena je bila tesna prepletenost, ki se kaže tudi na ume - tnostnem področju. Najbolj reprezentativen umetnostni spomenik te povezanosti je strešni stolpič kartuzije Jur - klošter, ki je v članku na novo časovno umeščen, in sicer v sredino 14. stoletja. Kartuzijanska politika grofov Celj - skih, ki so imeli svoj sedež na južnem Štajerskem v bližini kartuzij Žiče in Jurklošter, in tesni medsebojni kontakti so bili zagotovo ena od najpomembnejših vzpodbud za Habsburžane pri njihovi odločitvi za naselitev kartuzija - nov v okolici Dunaja in v Spodnji Avstriji in za pokop v kartuzijanskih cerkvah. Ključne besede: srednji vek, grofje Celjski, Habsburža - ni, kartuzijani, kartuzijanski samostani, Jurklošter (Gai- rach), Gaming Friedrich Polleroß Portret in propaganda na primeru cesarja Karla VI. 1.01 Izvirni znanstveni članek Članek poda ja pregled javnih funkcij cesarskih por - tretov na primeru portretov Karla VI., iz čigar časa je ohranjenih veliko pisnih in slikovnih virov. Ena od glav - nih tem je uporaba portretov v procesu iskanja vladar - jeve soproge in pri zaročnih slovesnostih. Po nekaj Kar - lovih otroških portretih je v času španske nasledstvene vojne nastala množica vladarjevih portretov, zaradi ka - terih je prišlo celo do »portretne vojne «. Podeljevanje portretnih miniatur in častnih medalj ter uporaba dr - žavnih portretov sta imela pomembno politično vlogo pri dednih poklonitvah deželnih stanov. Tudi pri dru - gih praznovanjih so bile vladarjeve slikarske in kipar - ske portretne upodobitve predstavljene v javnosti. Sa - mostojne portrete ali serije pa so zbirali v »cesarskih« ali »avstrijskih« dvoranah mestnih hiš (Dunaj, Bruselj, Maribor), samostanov (Salem, Ottobeuren, St. Florian, Osoje) in rezidenc cerkvenih knezov (Bamberg, Salzbu - rg). Nekatere primere je mogoče najti tudi v plemiških dvorcih (Forchtenstein, Znojmo) ali uradnih vladnih in univerzitetnih stavbah. Ključne besede: cesar Karl VI., funkcije portretov, dr - žavni potreti, ceremonial Habsburgs, and the Counts of Cilli were analysed to answer this question. A close interconnectedness was discovered, which is also visible in the field of art. The most representational monument of this connection is a ridged turret of the Jurklošter charterhouse. The article establishes a new chronological placement of the turret, the middle of the 14 th century. The Carthusian policy of the Counts of Celje with their seat in southern Styria and therefore very close to the Charterhouses Žiče and Jurklošter and the tight mutual contacts were surely one of the most important encouragements for the Habsburg family in their decision to settle this elite monastic order near Vienna and in Lower Austria and to be buried in Carthusian churches. Keywords: Middle Ages, Counts of Cilli (Celje), Hab - sburg Family, Carthusians, Carthusian monasteries, Jurklošter (Gairach), Gaming Friedrich Polleroß Portrait and Propaganda at the Example of Emperor Charles VI 1.01 Original scientific article The paper discusses the public functions of the impe - rial portrait exemplary with the portraits of Charles VI, where we have many texts and images as sources. The main themes are: the use of portraits during the search for princely spouses and the ceremonies of engagement. After a few child portraits of Charles there was a flood and even a war of portraits during the Spanish War of Succession. The distribution of portrait miniatures and medals of grace and the use of state portraits during ceremonies played an important political role in the rec - ognition of the new ruler by his different states. Also, in other festivities, paintings or sculptures of the monarch were presented in public. Single portraits or series with the portrait of Charles were collected in the “Imperial or Austrian halls” of town halls (Vienna, Brussels, Maribor), abbeys (Salem, Ottobeuren, St. Florian or Ossiach), and in the residences of church princes (Bamberg and Salz - burg). Some examples can also be found in the castles of aristocrats (Forchtenstein, Znojmo) or official govern - ment and university buildings. Keywords: Emperor Charles VI, use of portraits, state portraits, ceremonial IZVLEČKI IN KLJUČNE BESEDE / ABSTRACTS AND KEYWORDS 359 Petra Svoljšak Umetnost med cenzuro in propagando v prvi svetovni vojni 1.01 Izvirni znanstveni članek Članek analizira odnos avstrijskega državnega aparata do umetnosti med prvo svetovno vojno. Zelo pomemb - no vlogo je imela cenzura, ki ji je uspelo nadzirati vsa po - dročja javnega in zasebnega življenja v avstrijski polovici monarhije, medtem ko je bilo upravljanje javnega mne - nja v domeni Vojnega tiskovnega urada. Urad je izvajal nadzor nad umetniško propagando in tiskom, knjigami, razglednicami in drugimi javnimi mediji. V članku so analizirana področja dela urada in dejavnost umetniške skupine (Kunstgruppe), v katero so bili vključeni ume - tniki, ki so na svoj način spodbujali delo vojske; med nji - mi sta bila iz slovensko govorečih dežel Ivan Vavpotič in Luigi Kasimir. Seznam mobiliziranih umetnikov vsebuje tudi nekatera slavna imena svetovne umetnosti, na pri - mer Oskarja Kokoschko in Egona Schieleja. Ključne besede: prva svetovna vojna, Avstro-Ogrska, cenzura, propaganda, umetnost, Vojni tiskovni urad Polona Vidmar Portreti kot vizualizirani spomin na dosežke zaslužnih mariborskih meščanov 1.01 Izvirni znanstveni članek V prispevku je analiziranih dvanajst portretov ugle - dnih mariborskih meščanov, ki so bili ob koncu 19. in v začetku 20. stoletja naslikani za mariborski rotovž, občinsko hranilnico in prostore gledališko-kazinskega društva. Avtorica je analizirala upodobljene rekvizi - te glede na funkcijo portretirancev, ugotovila prvotno nahajališče portretov in na podlagi sočasnih časopisnih člankov in jubilejnih besedil navedla nagibe naročnikov ter portrete prvič predstavila v okviru sorodnih por - tretnih serij v prestolnicah (Dunaj, Gradec, Ljubljana, Zagreb) in bližnjih štajerskih mestih (Ptuj, Radgona). S portretnimi serijami županov, predstojnikov direkcije občinske hranilnice in gledališko-kazinskega društva so člani mariborske lokalnopolitične in finančne elite vi - zualizirali izjemne dosežke upodobljencev, da bi jim za - gotovili trajen spomin in spodbujali bodoče kandidate. V kontekstu primerljivih srednjeevropskih portretnih galerij je pri mariborskih serijah manj pomembno kon - tinuirano upodabljanje nosilcev funkcije, poudarjena je propagandna vloga portreta kot nagrade za posamezni - kove izjemne dosežke. Petra Svoljšak Art between Censorship and Propaganda during the First World War 1.01 Original scientific article The essay deals with the relationship of the Austrian state apparatus to art during the First World War. A very important role was attributed to censorship, which suc - ceeded in controlling all areas of public and private life in the Austrian half of the Monarchy, while public opinion lay in the domain of the War Press Office. The War Press Office exercised its control over artistic propaganda in the press, in books, in postcards and in other public me - dia products. The article, therefore, discusses the office’s fields of work and also sheds light on the activities of the art group (Kunstgruppe), which also ‘recruited’ artists for the war effort: Ivan Vavpotič and Luigi Kasimir from the Slovenian-speaking area. The list of mobilized artists contained a few famous names in the art world, such as Oskar Kokoschka and Egon Schiele. Keywords: First World War, Austria-Hungary, censorship, propaganda, Art, War Press Office Polona Vidmar Portraits as a Visualised Memory of Meritorious Achievements of Maribor’s Townspeople 1.01 Original scientific article The article analyses 12 portraits of renowned Maribor townspeople, which were painted for Maribor Town Hall, Maribor Savings Bank, and the rooms of the Town Theatre and Casino Society at the end of the 19 th and the beginning of the 20 th century. The author analysed the painted requisites based on the function of the portrayed, discovered the original location of the portraits, and based on the concurrent newspaper articles and cele- bratory texts, identified the motives of the patrons, while she also presented the portraits in the scope of similar portrait series in the capital cities (Vienna, Graz, Ljubljana, Zagreb) and nearby Styrian towns (Ptuj, Bad Radkersburg) for the first time. The members of Maribor’ s local political and financial elite used the portrait series of mayors, representatives of the Town Savings Bank Directorate and the Theatre and Casino Society to visualize exceptional achievements of the portrayed to ensure their lasting memory and to encourage future candidates. In the context of comparable Central European portrait galleries, the Maribor series places less importance on the continuous portrayal of the function holders and em- phasises the propaganda role of the portrait as a reward for an individual’s exceptional achievements. IZVLEČKI IN KLJUČNE BESEDE / ABSTRACTS AND KEYWORDS 360 Ključne besede: portretno slikarstvo, portretna gale - rija, Maribor, mariborski župani, Alois Graf, Eduard Lind Barbara Vodopivec Vizualna propaganda med prvo svetovno vojno na ozemlju Slovenije: vplivi in posebnosti 1.01 Izvirni znanstveni članek Prispevek se osredotoča na vprašanja, kakšna je bila podoba vizualne propagande na slovenskih tleh v času prve svetovne vojne, od kod so prihajali vplivi in ali ta podoba odslikava določene regionalne posebnosti. Avtorica analizira delovanje osrednjega avstroogrskega vojnega tiskovnega urada ( Kriegspressequartier, KPQ ) ter njemu podrejenih umetniške ( Kunstgruppe ) in propagandne skupine ( Propagandagruppe ). V osredje postavlja njihov vpliv na slovenski prostor, kot se kaže na podlagi medvojnih umetniških razstav, delovanja vojnih slikarjev in mehanizmov produkcije vsebin za množične tiske. Na podlagi arhivskega gradiva razkriva nekatere še neznane podrobnosti delovanja kiparja Fri - edricha Gornika (1877–1943) in slikarja Ivana Vavpo - tiča (1877‒1943) kot vojnih umetnikov in predstavlja del Vavpotičevega do sedaj pri nas neznanega vojnega opusa, ki ga hrani Vojni muzej na Dunaju. V nadalje - vanju so analizirani likovni motivi in tematike zbirke razglednic Vojska v slikah , ki je izhajala na Slovenskem, pri čemer avtorica posebno pozornost posveča iskanju vplivov in opredelitvi posebnosti, ki jih lahko vežemo na slovenski prostor. Ključne besede: vizualna propaganda, vojni tiskovni urad, KPQ, umetniška skupina, Ivan Vavpotič, Friede - rich Gornik, zbirka Vojska v slikah , vojne razglednice Keywords: portraiture, portrait gallery, Maribor, mayors of Maribor, Alois Graf, Eduard Lind Barbara Vodopivec Visual Propaganda in the Slovenian Territory during the First World War: Influences and Specifics 1.01 Original scientific article The contribution focuses on the issues related to the image of visual propaganda in the Slovenian territory during the First World War; on the origins of its influ - ences; and on the question whether this image reflected any regional characteristics. First, it presents the results of analysing the activities of the central Austro-Hungar - ian War Press Office (Kriegspressequartier, KPQ) and its Art Department (Kunstgruppe) and Propaganda Department (Propagandagruppe). It underlines the in - fluence of these institutions in the Slovenian territory based on the wartime art exhibitions, activities of war artists, and mechanisms of producing the mass press contents. Based on the archival materials, it also reveals certain previously unknown details regarding the ac - tivities of sculptor Friedrich Gornik (1877–1943) and painter Ivan Vavpotič (1877–1943) as war artists and presents Vavpotič’s wartime opus, kept in the Museum of Military History in Vienna, which has, to date, not received scientific attention. In the continuation, the ar - ticle reveals the results of the analysis that focused on the topics and art motifs of the postcard collection War in Pictures, published in the territory of Slovenia, and pays special attention to identifying the influences and defining the peculiarities that can be associated with the Slovenian territory. Keywords: visual propaganda, War Press Office, KPQ, Art Department, Ivan Vavpotič, Friederich Gornik, War in Pictures, war postcards IZVLEČKI IN KLJUČNE BESEDE / ABSTRACTS AND KEYWORDS 361 Sodelavci Contributors Doc. dr. Martin Bele Univerza v Mariboru, Filozofska fakulteta Oddelek za zgodovino Koroška cesta 160 SI-2000 Maribor martin.bele@um.si Dr. Jan Galeta Masarykova univerzita, Filozofická fakulta Seminář dějin umění Arna Nováka 1/1 CZ-602 00 Brno 170193@mail.muni.cz Dr. Susanne König-Lein Körblergasse 59 A-8010 Graz koenig-lein@aon.at Doc. dr. Miha Kosi ZRC SAZU, Zgodovinski inštitut Milka Kosa Novi trg 2 SI-1000 Ljubljana miha.kosi@zrc-sazu.si Doc. dr. Tina Košak ZRC SAZU, Umetnostnozgodovinski inštitut Franceta Steleta Novi trg 2 SI-1000 Ljubljana in Univerza v Mariboru, Filozofska fakulteta Oddelek za umetnostno zgodovino Koroška cesta 160 2000 Maribor tina.kosak@zrc-sazu.si Vesna Krmelj ZRC SAZU, Umetnostnozgodovinski inštitut Franceta Steleta Novi trg 2 SI-1000 Ljubljana vesna.krmelj@zrc-sazu.si Doc. dr. Franci Lazarini Univerza v Mariboru, Filozofska fakulteta Koroška cesta 160 SI-2000 Maribor franci.lazarini@um.si Prof. dr. Edgar Lein Körblergasse 59 A-8010 Graz edgar.lein@gmx.at Doc. dr. Mija Oter Gorenčič ZRC SAZU, Umetnostnozgodovinski inštitut Franceta Steleta Novi trg 2 SI-1000 Ljubljana mija.oter@zrc-sazu.si Dr. Friedrich Polleroß Universität Wien, Institut für Kunstgeschichte Garnisongasse 13, Universitätscampus Hof 9 A-1090 Wien friedrich.polleross@univie.ac.at Izr. prof. dr. Petra Svoljšak ZRC SAZU, Zgodovinski inštitut Milka Kosa Novi trg 2 SI-1000 Ljubljana petra.svoljsak@um.si Izr. prof. dr. Polona Vidmar Univerza v Mariboru, Filozofska fakulteta Koroška cesta 160 SI-2000 Maribor polona.vidmar@um.si Dr. Barbara Vodopivec ZRC SAZU, Umetnostnozgodovinski inštitut Franceta Steleta Novi trg 2 SI-1000 Ljubljana barbara.vodopivec@zrc-sazu.si ACTA HISTORIAE ARTIS SLOVENICA 25|2 ∙ 2020, 361 Viri ilustracij Photographic credits Martin Bele 1–2: P . Vidmar, B. Hajdinjak, Gospodje Ptujski – srednjeveški vitezi, graditelji in meceni , Ptuj 2008. 3: Wikipedia Commons. Jan Galeta 1: H. Bulín, Besední dům v Brně. 1872–1922 , Brno 1922. 2: Sammelmappe hervorragender Concurrenz-Entwürfe, 15, 1888. 3, 8, 10: arhiv avtorja . 4–5, 9: Jan Galeta. 6: Mährisch-schlesischer Correspondent. Ilustriertes Morgenblat , 234, 14. 10. 1898. 7: Der Bautechniker , 15/7, 1895. Susanne König-Lein 1, 39: Österreichische Nationalbibliothek, Wien, https://digital.onb.ac.at . 2: G. M. Vischer, Topographia Ducatus Stiriae , Grät z 1681. 3–20, 26, 31, 32, 35, 37, 38: Susanne König-Lein. 21–24: Atelier Dipl. Restaurator Erika Thümmel, Gradec. 25, 27, 28–30, 33, 34: Wikimedia Commons. 36: http://www.abtei-seckau.at/index.php/aktuelles/kirchenrenovierung. Miha Kosi 1, 8: G. M. Vischer, Topographia Ducatus Stiriae , Grät z 1681. 2: Slovenski zgodovinski atlas , Ljubljana 2011. 3, 5–6, 12: J. W . Valvasor, Topographia Ducatus Carnioliae modernae , Wagensperg in Crain 1679. 4, 10, 13: Igor Sapač. 7, 11: Wikipedia Commons. 9: K. Dinklage, Kärnten um 1620. Die Bilder der Khevenhüller-Chronik , Wien 1980. 14: © Steiermärkisches Landesarchiv, Gradec. 15: Župnija sv. Danijela, Celje (foto: Tomaž Lauko). 16–18: Ivo Gričar. 19–20: © ZRC SAZU, Umetnostnozgodovinski inštitut Franceta Steleta, Ljubljana (foto: Gorazd Bence). 21: © Pokrajinski muzej Celje (foto: Tomaž Lauko). 22: https://www.geschichtewiki.wien.gv.at/Datei:Hofburg_Rekonstruktion_1440.jpg. 23: http://www.deutschefotothek.de/documents/obj/90007771. 24: P . Herzog, Cosmographia austriaco-franciscana , Köln 1740. 25: N. Klaić, Povijest Zagreba. 1: Zagreb u srednjem vijeku , Zagreb 1982. 26: Hungarian atlas of Historic Towns. 4: Buda. I: To 1686 , Budapest 2015. 27: © Pokrajinski muzej Celje. 28: Miha Kosi, Mateja Rihtaršič. ACTA HISTORIAE ARTIS SLOVENICA 25|1 ∙ 2020, 363–365 363 364 Tina Košak 1–2, 8, 10, 13, 15, 17, 19, 23, 25, 31, 35 © Narodna galerija, Ljubljana (foto: Bojan Salaj). 3–5, 9, 11, 33, 36: Landesmuseum Kärnten, Celovec (foto: Tina Košak). 6–7: © Kärntner Landesarchiv, Celovec. 12, 34: Tina Košak. 14, 16, 18, 20, 22, 24, 32: © Narodna in univerzitetna knjižnica, Ljubljana. 21, 27, 29: © Narodni muzej Slovenije, Ljubljana (foto: Tomaž Lauko). 26, 28: © Österreichische Nationalbibliothek , Dunaj. 30: arhiv avtorice. Vesna Krmelj 1: Svetovna vojska , 1/1, 1914. 2: Svetovna vojska , 2/10, 1915. 3–4, 14: © Muzej novejše zgodovine Slovenije, Ljubljana. 5: Dom in svet , 29/3–4, 1916. 6: Janko Dermastja. 7: Ana Kocjančič. 8: Ilustrirani glasnik , 1/43, 24. 6. 1915. 9: https://www.reddit.com/r/propagandamedia/comments/f006bj/your_liberty_bond_will_help_stop_ this_us/. 10: © Canadian War Museum, Ottawa. 11: http://www.all-art.org/art_20th_century/grosz6.html 12: © Narodni muzej Slovenije, Fotodokumentacija OZUU NMS, Ljubljana . 13: Zvonček , 18/5, 1917. 15: Wikipedia Commons. Franci Lazarini 1–4: Biblioteka Slovenske akademije znanosti in umetnosti, Ljubljana. 5–6: © Narodna in univerzitetna knjižnica, Ljubljana. 7, 12: © ZRC SAZU, Umetnostnozgodovinski inštitut Franceta Steleta, Ljubljana (foto: Andrej Furlan). 8: © Pokrajinski arhiv Maribor. 9–10, 13: Igor Sapač. 11: © Zgodovinski arhiv Ljubljana. Edgar Lein 1, 22–23, 25–26: Markus Enzinger. 2: Friedrich Polleroß. 3–4: © Universalmuseum Joanneum, Abteilung Antike, Münzkabinett, Gradec. 5–6: M. Wundram, T. Pape, Andrea Palladio. 1508–1580. Architekt zwischen Renaissance und Barock , Köln 2009. 7–12, 24: Wikipedia Commons. 13: http://www.lombardiabeniculturali.it/opere-arte/schede/4y010-26476/. 14: R. Wittkower, Le antiche rovine di Roma nei disegni di Du Pérac , Milano 1990. 15: S. McPhee, Bernini and the Bell Towers. Architecture and Politics at the Vatican , New Haven-London 2002. 16–17: Metropolitan Museum of Art, New Y ork, https://www.metmuseum.org/art/collection . 18: © Universität Wien, Institut für Kunstgeschichte, Dunaj. 19–20: © Universalmuseum Joanneum GmbH, Alte Galerie, Gradec. 21: B. Duhr, Geschichte der Jesuiten in den Ländern deutscher Zunge in der ersten Hälfte des XVII. Jahrhunderts , 2, Freiburg 1913. VIRI ILUSTRACIJ / PHOTOGRAPHIC CREDITS 365 VIRI ILUSTRACIJ / PHOTOGRAPHIC CREDITS Mija Oter Gorenčič 1, 3, 4, 7, 9, 11: © ZRC SAZU, Umetnostnozgodovinski inštitut Franceta Steleta, Ljubljana (foto: Gorazd Bence). 2: Wikipedia Commons. 5: Arhiv Republike Slovenije. 6: Wikimedia Commons. 8: © ZRC SAZU, Umetnostnozgodovinski inštitut Franceta Steleta, Ljubljana (foto: Andrej Furlan). 10: © Narodna in univerzitetna knjižnica, Ljubljana. Friedrich Polleroß 1: Robert Keil. 2–3, 17–18: Elisabeth Klecker. 4: © Kunsthistorisches Museum, Dunaj. 5–12, 15–16, 19, 21, 23: Friedrich Polleroß. 13: © Muzeum umění Olomouc, Arcidiecézní muzeum Olomouc, Olomouc. 14: © Narodna in univerzitetna knjižnica, Ljubljana. 20: Julia Strobl. 22: Tomáš Kowalsky. Polona Vidmar 1: Deutscher Bote für Steiermark und Kärnten. Kalender für das Jahr 1899, Marburg a. d. Drau 1898 . 2–3: Pokrajinski arhiv Maribor (foto: Polona Vidmar). 4–6, 14–16, 18: © Pokrajinski muzej Maribor (foto: Tomo Jeseničnik). 7: © Wien Museum, Dunaj (foto: Birgit Kainz, Peter Kainz). 8: © Sammlung der Stadt Graz, Kulturamt, Gradec. 9: © Pokrajinski muzej Ptuj – Ormož, Ptuj (foto: Boris Farič). 10–11: © Museum im alten Zeughaus, Radgona. 12–13: J. Peyer, Denkschrift der Gemeinde-Sparkasse in Marburg , Marburg 1912. 17: © Narodni muzej Slovenije, Ljubljana (foto: Tomaž Lauko). 19: Deutscher Bote für Steiermark und Kärnten. Kalender für das Jahr 1898 , Marburg a. d. Drau 1897 Barbara Vodopivec 1: Wien Geschichte Wiki Commons. 2, 5, 10–13: © Heeresgeschichtliches Museum, Dunaj. 3–4: © Österreichisches Staatsarchiv, Dunaj. 6–9, 14: © Narodna galerija, Ljubljana. 15–17: J. J. Švajncer, Vojska v slikah. Slovenske vojne razglednice v 1. svetovni vojni. Zbirka Miloša Mikoliča in Miomirja Križaja , Logatec 2015. 18–20: © Goriški muzej, Nova Gorica. 21: © Muzej novejše zgodovine Slovenije, Ljubljana. CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana 7.074(436+439)(082) LIKOVNA umetnost v habsburških deželah med cenzuro in propagando = Visual arts in the Habsburg lands between censorship and propaganda / [urednika Franci Lazarini, Tina Košak ; prevodi Andrea Leskovec, Borut Praper, Nika Vaupotič]. - Ljubljana : Založba ZRC, 2020. - (Acta historiae artis Slovenica, ISSN 1408-0419 ; 25/2, 2020) ISBN 978-961-05-0495-5 1. Vzp. stv. nasl. 2. Lazarini, Franci COBISS.SI-ID 38441219 Za avtorske pravice reprodukcij odgovarjajo avtorji objavljenih prispevkov. The copyrights for reproductions are the responsibility of the authors of published papers. Vse pravice pridržane. Noben del te izdaje ne sme biti reproduciran, shranjen ali prepisan v kateri koli obliki oz. na kateri koli način, bodisi elektronsko, mehansko, s fotokopiranjem, snemanjem ali kako drugače, brez predhodnega dovoljenja lastnika avtorskih pravic (copyright). All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or utilized in any form or by any means, electronic or mechanical, including photocopying, recording or otherwise, without prior permission of the copyright owner.