TRIJE MANIERISTIČN1 ŽENSKI LIKI V SLIKARSTVU PRVE POLOVICE 17. STOLETJA NA SLOVENSKEM Blnienka First, Ljubljana Llmetnost posnemanja - manira Časa ali deiovna metoda manj inventivnih umetnikov, ki ob pomanjkanju lastne domiselnosti svoja dela opirajo na likovne zamisli vzornikov? V manierističnem slikarstvu 17. stoletja na slovenskih tleh gre za oboje. Kopi sli - bodisi domači ali tujci - so se praviloma zgledovali po tedaj vodilnih slikarjih oziroma njihovih likovnih stvaritvah, umetniškim delavnicam po vsej Evropi posredovan i h prek grafičnega medija. Trem slikam iz treh različnih slovenskih ccrkva (Sv. Lucija nad Studenicami, Sv. Cecilija v Celju in cerkev Marijinega imena v Goriči vasi pri Ribnici), nastalim v prvi polovici 17. stoletja, jc skupna slogovna pripadnost manierističnim oblikovnim vzorcem, sinteza severnih in južnih slogovnih prvin, predvsem pa praksa natančne odslikave likovnega zapisa z ustreznih grafičnih predlog. Čeprav so obravnavana slikarska dela nastala znotraj po Is tole t nega obdobja v približnih časovnih intervalih dvajsetih let in jim naSa umetnostna zgodovina določa ustrezno mesto v razvojnem loku manieristične slikarske produkcije omenjenega časa, pa grafični listi, po katerih so nastala, odražajo povsem drugačno situacijo. Pri vzorčnih predlogah ne gre za enako časovno kontinuiteto nastanka kot pri slikanih kopijah, temveč so vse tri nastale skoraj hkrati.1 Vsi trije bakrorezi izvirajo iz iste pozne Taze internacionalnega manierizma na severu F.vropc ali pa je celo list. po katerem je nastalo najstarejše olje. za spoznanje mlaj S i od preostalih dveh. Tako nastaja nekakšno neskladje v razvojni liniji manierističnega slikarstva na naših tleh, in sicer glede na značilno zaporedje manierističnih slogovnih faz, kot potekajo enotno v celotnem evropskem prostoru ob izteku 16. stoletja. Naj starejše delo v naSem nizu - Počitek na begu v Egipt iz podružnične cerkve Sv. Lucije nad Studenicami - je nastalo na prelomu stoletja in je v omenjeno 1 Gre za obdobje zadnjih dveh desetletij 16. stoletja. ! Emilijan Cevt: Slovenska umetnost. Ljubljana 1966, p. 107; Emilijan Cevc, Slikarstvo 17. stoletja, Umetnost XVJl. stoletja na Slovenskem /., Narodna galerija, Ljubljana I96K (od tod citirano Cevc, Slikarstvo 17. stoletja), p. 48 [r.k.], Ksenija Rozman, Slikarstvo (katalog). Umetnost XVII, stoletja na Slovenskem /..Narodna galerija, Ljubljana 1968 (od tod citirano Rozman, Slikarstvo), p. 134 |r.k.); JnieOirk. Studenice - pomemben Spomenik naše u me I nosi no zgodovine, N V XV1/2, Ljubljana I9B0, p. 305; Ferdinand Šerbcij, Ume in os I m spomeniki V občini Slovenska It t s tri ca. Zbornik občine Slovenska Uistrica Slovenski! S i stri ca 19K3, p. 203. 87 cerkev prineseno po?,neje (si, 49).3 Biblični prizor, zasnovan na pripovedi evangelista Mateja/ predstavlja sveto Družino, ki se je utrujena otl poli in sončne pripeke ustavila v idiličnem pejsaiu ob potoku, da si nabere novih moči. Mati božja je z Detetom v naročju sedla v senco drevesa, sv. Jožef v ozadju napaja oslička. Popotni sveženj m koSariea sla obležala v travi.3 Prizor je zajet z izrazilo nežnostjo in mehkobo, ki mu ga dajeta osrednji Marijin lik s svojo milino in senzualno lepoto na cm strani, na drugi pa idealiziran krajinski ambient z nekakšno psevdoromantično scnzibilnostjo, prelivajočo se v vseobsegajoče panteistično doživljanje sveta. Prizor živi v prijetni harmoniji upodobljenih figur in krajinskega okolja, stopnja njegove čutne kulture pa ga priklepa trdno v svet tostranskega bivanja. Gre za svet, ki je hkrati profan in sakralen: sakralna realnost je postala metafora za intimno doživljanje vsakdanjega družinskega življenja. 7, vdorom profanega v duhovno in z množico poetičnih in pripovednih nadrobnosti je svetopisemska snov izgubila svojo teološko eksaktnost, hkrati pa se podoba z iskrenostjo upodobljenega čustvenega sveta ponovno dviga na raven pristnega religioznega doživetja, Mikrukozmos ospredja obvladuje plastično zajet Marijin lik, ki skupaj z vertikalo drevesnega debla poudarja simetrično os kompozicije. V sebi počivajoča figura je podana tektonsko in statično, vendar prežeta z intenzivnim notranjim življenjem, Tdo je pretehlano proporc ion i rano in spretno modelirano, linije so dolge, tekoče in elegantne C.uten vtis podobe stopnjujejo poudarjene telesne oblike, ki riSejo svoj relief skozi oprijemajočo se draperijo. Marijina poza in njen enig matični nasmeh oživljala .spomine na sloletje starejše Leonardovc reSitve/' Podoba je ujela v manieristične zakonitosti svetiotemnega vodenja svetlobe. Kontrastna svetlobna dinamika je slikarju sredstvo modeliranja figur in podajanja globine prostora. Uriljantna luč presvetljuje prizor od znotraj navzven in ižriva osrednjo lig uro iz ozadja v prvi plan. Prehodi ined osvetljenimi in senčnimi partijami so sunkoviti, le Marijin lik je senčen rahlo in postopno (npr mehak sfumato obličja in vratu). Kompozicija je uravnotežena, zgoSčena in tektonska, njena tri-kotniika forma se navdihuje z vzori visoke renesanse. Renesančno Iradieijo oživljajo tudi ideali simetrije, pridobitve perspektivičnih in anatomskih študij ter težnja po izražanju v kategorijah mini, ravnotežja in vedrine. Hkrati pa sledi zakonitostim manier bučnega formalnega jezika, ki se kaže v spremenjeni harmoniji telesnih proporcev,7 v erotizirano podanem ženskem liku iti njegovi izumetničeni senzualni lepot nos t i, kot sojo upodabljali v manieristične m obdobju na severu Evrope. Princip g racije kot temeljne lepotne zapovedi poznega munierizma je značilna poteza tudi oljne slike iz Sv. Lucije nad Sludemcaiui. ' To dokazuje čas nastanka, ki je zgodnejši od nastanka cerkve (okrog 1650) oziroma njene opreme (1650-1685), Sliki je bilo določeni■ mesto desno ays of Cieation and Matham's Four Elements, Oud Holland, Jnargang Vohune I02f 1988, Nr, 2, pp, 174-180; M arij rt Sch apel hau man: Nederfandse tekeningen omstreeks 1600/Naher lan disch Drawings circa /6cW. Amsterdam 1957. pp, 97-109 [r,k , I. 11 Koti rad Ober hu her Zwischen Renaissance und Barock. Das Zeitalter von B rue gel und BelUtnge. Werke aus dem Besitz der Albertina, Wien 1967-6S ¡od tod citirano Oberhu-bei: /.wischen Renaissance und Barock), p. 9 [r.k.]. 89 sli, pa je ohranil izrazito italijansko komponento, ki se odra ta v idcaliziranem, plastično zajetem figuralnem slogu, kontrastni osvetlitvi, manienstičm lzumeini-ČenOsti in ekstravaganci. Prek vzornika Hendricka Cioliziusa je Jan H. Mulltr sprejel Sprangerjev figuralni tip z vso eleganco poz in kretenj, predvsem pa je sledil grafiku v tehniki reformiranega bakroreza, ki je kot ideal preplavil svei holandske grafike s svojo maniro ode beljen i h mi sianjianih linij ter ritma razdalj med njimi.14 Goltziusov stil napetih zaobljenih linij je verjetno prav Müller preizkusil na najbolj virtuozen način m pri vedel do eksiremnih konsekvene."1 Mullerjev list Počitek na begu v Egipt'" je podoba erotiziranega stila, kakršnega je bilo tedaj mogoče doseči le ob zasledovanju italijanskih zgledov. Sinieza nizozemske čutnosti in italijanske elegance, združena s stopnjevanimi svetlobnimi učinki in prodorom v globino ter prizadevanja za slikarskim učinkovanjem ? odpovedjo konturnim Jinijam * vsi ti elementi dokazujejo prefinjen, iz Goltziuso-vega izpeljan romamstični stil. Fine linije grafičnega tkiva so podane z močnim zagonom m se l gibko potezo prilegajo telesnim-formam. Močne chiaroscurne učinke ustvarja mojster z vzporednim vodenjem nabreklih in stanj San i h linij, prostorsko perspektivo pa s tonal-no shemo ozadja. Mullerjeva upodobitev sledi nekakšni idealizirani viziji, ki presega možnosti posnemanja objektivnega sveta. Tradicionalno severnjaško iskanje ravnovesja med realnim m fantastičnim1" ostaja notranja napetost tudi v njegovih izvedbah, ki celo znotraj manierizma kot an t i-natura I i stičnega stila ohranjajo dualizem: Čista imitacija in visoko imaginativna kreacija. Ta dvojnost je ujeta tako v Marijinem liku kol v krajinskem pejsažu, kjer se empirični Študij narave srečuje s povsem fantazijskimi tvorbami. Izmišljene prostorske konstrukcije so aranžirane, vendar podane realistično. Idealizirajoče po-ustvaTjanje je torej vodilo k nastanku nekoliko fantastične pokrajine, ki pa ostaja vsele; do določene stopnje realistična. Če je Italija ustvarila temelj za sistematično podajanje prostorskosti. je zraslo opazovanje narave iz latentnegu občutka za stvarnost najprej na Severu.N V 16, stoletju je i.e zelo močno navzoče tudi v religiozni moti viki.1,1 Soočenje z naravo - tako s " HcndrickGoltzius je gojil ta stil med leti 1580-1615. '* Ober h über: Zwischen Renaissance und Barock, pp. 227-231. " Prizor je tzdelftn v tehniki bakroreza in meri 228 x 203 mm (odtis ploSčej, Znana so Irl stanja ploiče. Signal ura desno spodaj: Joannes Mutier fetit 1593. Pod prizorom iliri vrstice latinskega teksta: Quid mortem ... flutest Spodaj v sredi: Hnrmuti MutUfeXCud. Gre za J a novega očeta, založniki v Amsterdamu- 11 Cf. Anne W. Lowciuhai: Joachim Wtewael and Durch Mamerism. Davaco Groningen 1986, p, 24. " O pojmovanju prostora in krajine v obdobju manierizma na Nizozemskem cf Studijo Heinrich» Gerhard a Franza: Niederländische Landschafitmaierei im Zeitalter des Ma-nitrismui, Graz 1969. !u S staliiča krajine je studemikemu olju *elo soroden lud i grafični list Hermana vau S wa-nenbuiga vi serije dvanajstih krajin. Gre za peti list t naslovom Beg i1 Egipt. Precejšnjo podobnost 7 Mullerjevo upodobitvijo kot celoto figuralne skupine in krajine pa i/.rata list Petra de J odeja (Gerard de Jode exc.) Počitek na begu v ¡'gipt Listje domnevno vrezan po zamisli HendrickaGoltziusa. Vse te sorodnosti dokazujejo iivahne medsebojne vplive umetniških osebnosti o/i roma skupin. 90 pokrajino kot s tihožitjem in žanrom - se močno kaže Se posebej v Goltziusovi smeri, ki ji je pripadal tudi Jan H. Muller.21 V igri približevanja in oddaljevanja od realizma ¿ivi tudi sludeniško olje, Primerjava i, izvirno grafiko v prvi vrsti potrjuje prakso dokaj eksaktnega kopiranja, v naslednjem koraku pa razkriva vrsto odstopanj od citirane predloge. Marijin lik je sicer do fiziognomiCmh podrobnosti identičen predlogi, pa vendar je figura v svoji polnosti precej težja in bolj voluminožna v primerjavi z graeilno Mullerjevo vzornico. Tudi v značaju gubanja draperije se izvirnik z bleščeče gladko te ste 110 man i m razlikuje od kopije, kjer so gube podane plitveje in se tesneje oprijemajo telesa Anonimni kopist nekoliko sibkcje oblikuje detajle, npr. roke, medtem ko je Dete podano precej nesrečno v obeh primerih. Odnos osrednje figure ali figuralne skupine do okolja, v katerem nastopa, je za kopi ste obravnavanega časa vselej precej S nj a težava." Akterji praviloma pogrešajo harmonično zlitost s svojim življenjskim prostorom. V nasprotju 1 Mullerjevo grafiko, ki podaja osrednji lik zraičen s krajinskim okoljem, pa mati 13ožja anonimnega slikarja v naslikani pokrajini ne živi, temveč je zgolj postavljena pred pokrajinsko ozadje. Sama nase izolirana figura je tudi s svetlobo ločena od ozadja, ki učinkuje kot nekakina pokrajinska kulisa figuralnemu prizoru. V primerjavi s finim senčenjem bakroreza jc slika osvetljena prcccj poenostavljeno." Motivno največje odstopanje od bakrorezne predloge pa je opazno v podajanju pokrajine, Jan H Muller oblikuje bizarno manieristilno pokrajino, ki v iskanju ravnotežja med dejanskim in fantastičnim združuje tako elemente italijanskega idealiziranja kot nizozemske nagnjenosti k realizmu. V primerjavi s poprejšnjim obdobjem visokega manicrizma, ko pokrajina ni bila pojmovana kol figuralnim scenam enakovreden motiv, pa je v pozni fazi zadnjega desetletja 16. stoletja na severu Evrope iaznatt ponoven obrat k naravi. Vendar pa ima ta narava največkrat nerealen značaj - pogosto je poseljena s skalnimi skladi fantastičnih oblik, tako na primer pri Mullerjevem bakrorezu, Monumentalno previsno skalo, ki kot kulisa zapira levo stran upodobitve, je mojster studemškega oija nadomestil z mehkejšo lirično pokrajino z drevesi m ji prosto odprl pot v ozadje, Kljub večji stopnji verjetnosti podaja bolj suhjektivno kol empirično resnico o predstavljenem pejsažu, s katerim pa vendarle ohranja tradicijo nizozemskega krajinarstva. Če presojamo korektnost perspektive na študentskem olju, ugotavljamo, da se Jožefov lik preveč nenadno zmnnjiuje v ozadje, sicer pa je dinamično razgibana figura celo holj izdelana kot na predlogi. Analogije temu detajlu lahko najdemo v identičnem motivu z lista Počitek na begu v Egipt flamskega grafika Philipsa Galleja-* po zamisli Manena de Vosa. Sv. Jožef je podan v precej večjih dimenzijah, tako da bi se celo Jan H Muller utegnil inspirirati pri njem. saj so tudi izvirne ji i umetniki preoblikovali tuje pobude oziroma vplivali drug na drugega. 11 Oberhuber: Zwischen RenaisS&nce and Burock, p, 199, " Brez prave organske povezave z njihovim življenjskim okoljem so povečini vse figure. Upodobljene na tablah ali olj ih iz 17, stoletja na Slovenskem. " N pr. seriče nje M arij i nega pi aSČ a, ' Kompozicij a je celo sorodna Mu llerj evi. Marij a je prav t ako 11 a me Sčena e en tral n o pod drevesom in doji Dele, levo spodaj IcZi popotnica. Siga: Martin de Vos tni'..1 Ph. Gnile e.v cudebat. 91 Drugo delo v našem nizu predstavlja jv. Cecilijo - rimsko svetnico in mučeni-co iz istoimenske cerkve v Celju/15 nastalo leta 1627 (si, 51).* Olje ni signirano, njegov avtor pa je po vsej verjetnosti slikar Christoph Weissmann, eden najvidnejših manieri stičnih slikarjev prve ¿elitine 17. stoletja na naših tleh.37 Mojster izvira verjetno s Koroškega, v naših krajih pa je deloval slabi dve desetletji. Gre za enega najpomembnejših Jn fiajbolj priljubljenih sodelavcev ljubljanskega i kola Tomaža Hrena. Njegovo avtorstvo ccljskcga olja z upodobitvijo sv. Cecilije je posredno izpričano z notico v Hrenovem osebnem koledarju, Lep manieristični prizor sicer namenja naslovni figuri dominantno mestu v scenskem prizoru, obenem pa v skladu z dekorativnim principom po površini razporeja množico glasbenih instrumentov, katerih obilje ne odraža le ljubezni do pripovednih nadrobnosti, temveč pravi manieristični strah pred praznim prostorom. Slikar ne osredotoča pogleda na najponiemhuejsi predmet upodobil ve, temveč ga bega s stranskimi objekti in dogajanjem, barvnimi poudarki in svetlobnimi pohliski Temu stilističnemu konceptu sledijo (udi stranske epizode, ki celovito ilustrirajo legendo o m učeni št v u rimske svetnice in do kraja zapolnjujejo razpoložljivi prostor. 11A Dimi!/,, Historische Notizen aus den im Museal-Archive aufbewahrten Kalendern des Dischofs Th. Chron, MHK, 1S62, p, 90: A. Fckonja, Celje in okolica, DS. 1895. p. 724; Katalog zgodovinske razstave slovenskega slikarstva, Ljubljana 1922, pp. 4-5; F. Stelč, Zgodovinska razstavi na S loven s kein, Jugoslavija, it. 215,20,9, 1922, p. 2; I. Cankar, O kritiki zgodovinske razstave slov. slikarstva, Slovenec, it. 21Ü, 26. 9. 1922. p. J. M antuan i. Slikarska umetno s! naših def.el v proSlih dobah, DS, XXXV, ¡922, p. 456; J. Mamu;ini. Po zgod. razstavi slikarstva. Slovenski narod. fit. 224. 3. 10. 1922, p. 2; J, M an man i. Zgod. razstava slikarstva, Slovenec, št. 199, 12. 9. 1922, p. 2; F. Steife, Zgod, razstava slikarstva na Slov., Čas. 1923, pp. 62-64; F. Stele, Varstvo spomenikov, ZUZ, IV, 1924, p. 156; M. M atoli; Dekamja Celje. Maribor 1931, pp. 9 S, 104; A. Gaber, NaSa Narodna galerija. Slovenski narod, 22. 6.1933, p. 3; F, Steife; Monumenta H, Ljubljana 193B, pp. 1,6, S, 15; F. Steife; Umetnost baroka na Slovenskem, Ljubljana 1957, p. 9; L Curk: Topografsko gradivo t. Sakralni spomeniki na območju občine Celje, Celje 1957. p, 30; F,. Cevc: Slovenska umetnost, Ljuhljana 1966, p. 79; F. Šteli: Oris zgodovini: umetnosti pri Slovencih, Ljubljana 1966, p p. 55,57, 59,60; Cevc, Slikarstvo 17. stoletja, p, 52; Rozman, Slikarstvo, p. 136; Ivan Stopar: Celje, Zbirka vodnikov Kulturni in naravni spomeniki Slovenije, 37, Ljubljana 1973, p. 27; Ana Lavrič; Vloga ljubljanskega ikofa Tomaža Hrena v slovenski likovni umetnosti / Die Rotle des Bischofs Tomaž Hren in dir slowenischen Kunst, Ljubljana 198 S (od tod citirano Lavrič: Vloga ljubljanskega .ikofa Tomaža Hrena), pp, 122, 123, 155 -15 S; Ivan Stopar; Mesto Celje in njegovi Spomeniki, Zbirka vodnikov Kulturni in naravni spomeniki Slovenije, 17S, Maribor 1991, p. 37; Janez Höfler; Ana Lavrič, Vloga ljubljanskega škofa To mai.a Hrena v slovenski likovni umetnosti ločena J, ZUZ, n v. XXV, Ljubljana 19S9, p. 123. M Prizor je izdelan v tehniki olje na platno in je dal iran z krnico 1627. Levo spodaj so ob Hrenovem grbu pripisane inicialc J'. L. A. P. Gre za Škofovo geslo TerretJfAor, aspiet praemium. V desnem vogalu je moj s I er naslikal grb ljubljanske Škofije in dodal začetnice THO E. Z.. (Thomas. Episcopifs Labacensis). Nu Brandl odprte knjige O i) svcimčinih nogah: CANTANTIB t ORGAN iS CECt/UA DOMINO DECANTABAT/ DICENS1 / FIAT COR MEVM/VTNON CONFVN/OAR (antifona, s katero je Cerkev pela slavo svetnici na njen praznik). Leta 1966je delo reslavrtrul Izidor Molti. " I avrič; Vloga ljubljanskega škofa Tomaia Hrena, pp. 155 -155,235, " Škof Hren sije v svojem koledarju zapisal, tolikšno vsoio je i/plačal slikarju za podobo sv, Cecilije. 92 Deviška svetnica naj hi po edinem ohranjenem pasijonu iz 5. stoletja živela v času papeža Urbana 1. v 3. stoletju, Njen grob so odkrili v KaJistovih katakombah poleg knpte papežev. Legenda pravi, da je na smrt o h soj ena krščanska palricijka priila nepoškodovana i?, plamenov sežgali naj bi jo b)li v lastni hiši v peči za segrevanje kopeli -, zato je sledila obsodba z obgiavljenjem. Tudi po treh udarcih £ mečem je ostala živa še tri dni in v tem času razdelila imetje. Kot zaSčitnico glasbe so jo začeli častiti v 15. stoletju," ker naj bi na poročni slovesnosti v svojem srcu opevala Boga. O svetnici legenda pričuje, da je bila tako blizu ne besom, daje slišala angelsko pelje. Pripisovali pa soji tudi znanje igranja na vsa glasbila Ker pa / njimi vendarle ni mogla izraziti nebeških napevov, ki jih je nosila v duši, je izumila orgle in jih posvetila bogoslužju, Tako je postala zavelnica glasbenikov, pesnikov, pevcev in izdelovalcev orgel.JU Celjska sv. Cecilija je ekstravaganma plemkinja v slovesni leairalični drži s palmovo vejico mučeniStva v levici in cvetličnim venčkom v desnici. Gre za ve nec lilij in vrtnic, ki ga je ob zaobljubi devistva prejela od božjega sla. Figura je podana t aristokratsko eleganco in milino, nt brez sledi akademskega klasicizma, ki v poznem 16. m zgodnjem 17. stoletju kot vzporedna linija manierizmu nastopa na severu fcvrope, Svetnica izžareva dostojanstveno zadržanost tako z izrazom obraza kot z gibi in postavitvijo telesa, kost umi ranega v bogato težko oblačilo z modnim brokatnim vzorcem z manieristično izpeljavo. Cjubanjc je tektonsko organizirano in podrejeno visoko e šteti ziranemu dekorativnemu principu lomljenja. Svetnico v krožnem ritmu obdaja cel ansambel glasbil, ki kljub mojstrovemu poskusu prodora v prostor zanikajo tridimenziomilnost slike in ustvarjajo videz popolnoma po povrSim slikovnega polja ara nži ranega motiva. Statični trn n tal ni koncept se povezuje z aditivno mamro, ki niza med sabo nepovezane predmete v prenatrpano kompozicijo. Ozadje s svojo nevtralnostjo podčrtuje osrednjo figuro in njene atribute, s tem pa ustvarja tipično maiiieristično razmerje med pripovednim detajlom in celoto kompozicije. Ob mamcrisiičncm preobilju po slikovni ploskvi razporejenih predmetov pa slikar celjskega olja v svojo pt¡poved pritegne Se atiekdotične elemente iz legende o svetničinem ttiučeniStvu. V desnem ozadju je v miniaturnih razsežnostih predstavljena epizoda z obglavljanjcm. levo stran pa zapolnjuje monumentalna arhitektura. Ob spodnjem robu slike je v medaljonu, ki ga držita dva angela, podan motiv svetničinega trupla v pozi, v kakrSni so jo leta 1599 naSli v njenem grobu Ob vsej nepreglednosli prostorske ureditve je vendarle mučno naglase na iz renesančne kompozicijske gradnje podedovana simetrična os. razširjena v trikotni iko formo, hkrati pa v skladu z manierističnimi zakonitostmi razvija prizor skoraj povsem po površni slike. Centralna kompozicija in razpršitev puudarkov -vizualnih in pripovednih ■ sla temeljni značilnosti slikovne gradnje, posicdica Leta 15 84 je Aleksander Marino v Rimu ustanovil organizacijo glasbenikov - bratovščino sv, Cecilije"' tj?ksik-ke pesmi.™ List je ilustrativen primer sinteze italijanske in flamske formalne govorice, idealne italijanske forme z njeno skulpturalno trdoto ter severnjaške težnje po približevanju realnosti. Gre za napetost, kije vse 16. stoletje navzoča v umetnosti Severa. Sadeler italijanske slogovne govorice ni preprosto prevzel, temveč jo je v smislu svojega lastnega pojmovanja ustrezno preoblikoval. Fleksibilni mojster se je vselej prilagajal v odnosu do predlog, ki jih je kopiral, vseeno pa je v svoje delo vnesel nekaj severnjaškega duhu. Tako ostaja v določeni men nizozemski, čeprav se neposredno navezuje na italijanska dela. Pripravljenost za sprejem italijanskih form se pokaže najprej in najmočneje v človeški figuri - v njeni eleganci, drži, postavitvi in plastičnosti. Vendar pa je grafik v motiv Počitek na begu vključil tudi deskriptivne aspekte nizozemskega slikarstva in poudaril tostransko realistično komponento. Nizozemski duh običajno izhaja iz zemeljskega. Karkoli slika, vselej je to njegovo lastno življenje, njegovo okolje in ljudje, četudi preoblečeni v svetopisemske osebe. Preteklost se spogleduje s sedanjostjo, biblično s profanim, Ne glede na to, da je bila italijanska umetnost prav v obdobju manierizma vzor vsej Evropi in da so jo slikarji s Severa skušali posnemati, pa so jo severnjaki prav na področju grafike občutno presegli In čeprav so - kot v našem primeru Jan Sadeler - celo prevajali dela italijanskih kolegov in s tem sprejemali italijanski formalni jezik iz prve roke. vendarle vsaj deloma ohranjajo svoj nacionalni značaj, celo v obdobju poznega manierizma, ki velja zaradi obveznih potovanj po Evropi in šc zlasti zaradi grafičnega obtoka za mednarodni stil. Tako je na primer nizozemski umetnosti zelo blizu didaktični moment in v tem kontekstu ne gre prezreti, s kakšnim poudarkom oblikuje Sadeler lik sv, Jožefa, ki se v neposrednem nagovoru z iztegnjenim prstom obrača h gledalcu. Oster pomenljiv pogled je podkrepil s s umesti v no kretnjo - svetnikov opozarjajoči kazalec se izteguje natančno v osi kompozicije, Mojster H (J. G. je kretnje minimalno spremenil, i dosegel povsem drugačno vsebino. Največji razkorak med predlogo in kopijo pa nastopa kot ikonografska redukcija krajinskega ozadja. Kljub nebesnim prostranstvom podaja Mojster H G. G, prizorišče izrazilo utesnjeno in v popolni odsotnosti tretje dimenzije. V skladu s spremenjeno vsebino se je odpovedal krajinski razsežnosti in figuialno skupino prestavil v nevtralno okolje. Prizor je tako postal bolj slovesen in odmaknjen, s tem pa tudi log. Slikar teži k abstraktni monumentalnosti v odmiku od resničnosti, medtem ko grafični list oblikuje sceno precej bolj svobodno in sproščeno. Bakrorez kljub svetopisemski lemi in vzvišeno klasični Marijini lepoli vendarle izhaja iz vsakdanjega življenja, Ob koncu stoletja so se namreč ponovno razi i vele teme, " Nizozemski slikarji so pridobitve italijanskega tuminoznega slikarstva povzemali po Janu vanSeorelu, kije leta 1520 prvi obiskal Benetke in Rim. Ilustrativno v temkontek-s i u je dejsivo, da so moj si ni zato imenovali Pri naša lee luči. " S svojo čutno naravnanostjo je manieriMifna sakralna umetnost rada pusegala po primerjavah iz Visoke pesmi. 100 ki so ustrezale novemu meščanskemu zanimanju /a življenje in življenjsko okolje, Najbolj i vesti lnterpreti tega okolja so bili prav Nizozemci. Mojster H. G. G. je v primerjavi s to severnjaško maniro precej bolj sterilen in okoren. Gibek in nežen grafični rokopis Spreminja v nekako otrplo in veličastno parafrazo citiranega moliva, Komunikacija med figurami in pokrajino je prekinjena, Sadelerjeva kontrastna svetlobna dinamika je pri slikarju manj logična m povedna, Detajli, ki jih je naš mojster sam dodal, SO občutno slabši od kopiranih.''4 V primeru D rutine iz Gori če vasi gre torej za provinci al no različico likovnega dela, ki ga mojster H. G. Ci. kopira s skoraj polstoletnim Časovnim zamikom. Način in stopnja predelave sta odraz slikarja tradicionalista, ki si pri slikanju na slovenskem podeželju tudi sicer pomaga z grafičnimi predlogami. Ob vseh treh obravnavanih delih je moč povrni, da so odraz razmeroma visokega umetnostnega Standarda, V dialogu S citiranimi predlogami pa h olj ali manj nesamostojne izvedbe, saj le z minimalnimi variacijami ponavljajo izbrane vzore. Gre za vzore nizozemskega manierističnega slikarstva, ki je zarisalo odločilne poteze v umetniški obraz nagega 17. stoletja. Pa vendar osnova tej ustvarjalnosti ni samo Sever, temveč prav tako Italija, ki je vitalno posegla v nizozemsko umetnost manierističnega obdobja. Likovna forma, zaplojena v klimatskih, geografskih in kulturnih razmerah italijanske duše, jc postala standardna doktrina na Severu, Prav grafične predloge pa so bile tiste, ki so vse dežele evropskega ozemlja povezale v veliko kulturno celoto. Tako so - kol v naiih primerih - naslajale neštete iriade, v katerih so grafiki prevajali izvirna olja velikih evropskih mojstrov in njihove likovne prijeme v svojem mediju predajali naprej. liakroreze pa so potem uporabljali manjši slikarji kot pripomoček pri svojem delu in s tem ustvarjali nekakšno nad na e i o 11 al nos t manierističnega umetniškega jezika. " Npr. ravna linija zaključka Marijinega oblačila ob vratu. 101 THREE PAINTER MANNERIST FEMALE FIGURES FROM THE ART OF THE FIRST HALF OF THE 17TH CENTURY IN SLOVENIA by Blaže tika First, Ljubljana is the "art of imitation" a periodic mode or a melhod of work pursued by Jess inventive artists who for laek of imagination follow ready examples in visual art? In 17th-century Mannerist painting in Slovenia both are true. As a rule, copyists -native or foreign modelled themselves on the leading painters or their artistic output graphically imparted io artistic workshops throughout Europe. Three pictures from three Slovenian churches (St Lucy above S t ude nice, St Cecily in Celjc and St Mary's church at Gonča vas near Ribnica), dating back to the first half of the J7th century, show a common stylistic adherence to the Mannerist form, a synthesis ol northern and southern stylistic elements and, above all, the practice of accurate imitation of visual images from the corresponding graphic models. Although the pictures dealt with in this article were executed within a period of half a century at approximate intervals of twenly years and have been assigned iheir places in the devclopmam of Mannerist painting of that i ime, the prints on which they were modelled reflect a completely d i fferenl situation, The models do not show the same temporal continuity of origin as is the case with ihe painted "reproductions", hut were made almost simultaneously.1 All three engravings origi nate from the same late phase of international Mannerism in Northern Europe, even more, the print which served as a model for the oldest oil painting is or even later origin than the remaining two. Thus a certain discordance can be seen in the line of development of Mannerist painting in this country, due to the significant progression of Mannerist stylistic phases running unitarily throughout Europe at the end of the Ifith century. The oldest of the three pictures Rest on the Flight to Egypt, from the daughter church of St Lucy above Studenice,' was painted at the turn of the century. It was ' The la s t two Je tades of the 16th ccniury. ' Emilijan Ceve: Slovenska umetnost. Ljubljana 1966, p, 107; Emilijan Cevc, Slikarstvo 17. stoletja. Umetnost XVII, stoletja na Slovenskem I. (Ccvc, Slikarstvo 17. stoletja), Narodna galerija, Ljubljana 1968 |exhihilion catalogue], p. 48; Ksenija Rozman, Slikarstva (Rozman, Slikarstvo)(Catalogue). Umemos) XVII. •itoletja na Slovenskem, Narodna galerija, Ljubljana 1968 (exhibitioncatalogue], p. 134, Joie Curk, Sludcnicc -pomemben spomenik naše umetnostne zgodovine, CZN, NV XV1/2, Ljubljana J 980, p. 305; Ferdinand Šcrbelj, Umetnosmi spomeniki v občini Slovenska Bistrica, Zbornik občine Slovenska It i strica /..Slovenska Bistrica IWO. p. 203. 103 moved to this church at a later date (pi. 49).1 The biblical scene, based on the narration of Matthew the Evangelist,4 represents the Holy Family, exhausted by Lhe long journey and Lhe heat. They nest in an idyllic landscape by a stream to gather their strength The Holy Mother with the Child in her arms sits in the shade of a tree, while St Joseph is watering the donkey in the background, The bundle and basket are lying in lhe grass.J The scene radiates a singular tenderness and softness issuing from the central f igure of the Virgin with her grace and sensual beauty on one hand, and on the other, from the idealized landscape emanating a kind of pseudo-romantic sensibility flowing over into a universal pantheistic experience of the world- The scene is alive in the pleasant harmony of the painted figures and the surrounding landscape, and the degree of its sensual culture, tying it firmly to this world. This is at once a world of the profane and sacral; sacral reality has become a metaphor for the intimate experience of everyday family life. With Ehe irruption of the profane into the spiritual and the host of poetical and narrative details, the biblical content has lost its theological exactness, At lhe same time the image, through the sincerely painted Sensual world, reascends to the level of genuine religious experience. The microcosm of lhe foreground controls the plastically expressed figure of Mary, which, together with the vertical of the tree trunk, emphasizes the symmetrical axis of the composition. The withdrawn resting figure is featured technically and statically, but is charged with inner life. The body is well proportioned and skilfully modelled, the lines are long, fluent and elegant. The sensual impression of the image is intensified by the stressed forms of the body emerging in relief through lhe close-fitting drapery. Mary's pose and enigmatic smile are reminiscent of Leonardo's devices a century before* The image is captured according to Mannerist principles of chiaroscuro. The contra stive light dynamics are for the painter a means or modelling his figures and crealing spacial depth Hrilhant light shines forth upon the scene from within, pushing the central figure from the background 10 the fore. The transitions between the illuminated and shadowy parts are abrupt, and only Mary's figure is slightly and gradually hatched (e.g. the soft sfumoio of the face and neck). The composition is well balanced, dense and tectonic: its triangular form is inspired by ihe ideals of ihe High Renaissance. The Renaissance tradition is conjured by the ideals of symmetry, the knowledge of perspective and anatomy, and by a tendency towards expressing lhe categories of peace, poise and serenity. At the same time it follows ihe rules of the formal language of Mannerism, which is evident in the changed 1 This proves the time of origin which predates dial of the church (around 1650 J and its furnishings (I fi50-l6S5), The picture was assigned lhe place ¡0 the right of the altar dedicated to St Antonius of Padua and is presently located in the priest's house at Studenice. 1 Mt. 2. 13-15. ' The scene is painted wiili the technique of oil on canvas and measures 'JK x l)5.5cm. The work i s neither signed nor dated. In 1966 it was restored by M, Pi mat. Similar works of an can be traced in the opus of ihe painter and engraver Giulio Romano, a«, well as Raphael, especially the motif with the Child clinging In the neck nf Mjry's dress. KM harmony of body proportions.7 in the erotically expressed female figure and its artificial sensual beauty as ii emerged during the Mannerist period in Northern Europe. The principle of grace as the basic commandment of beauty in late Mannerism is a characteristic feature that can also be found in the oil painting of St Lucy above Studenice. The colouristie values in the picture are intense and saturated, rieh in nuances. The scene with its colour spectrum joins the historical output of 16th-century Dutch painting, despite the technique of adopting the Italian quality of applying colours. It involves developing ihc motif by using colour instead of applying ¡he linear brushstroke. The perspective! articulation of landscape space in the background is also connected wilh colour as the linear perspective in obtaining spaiial dimensions is related to colour, or air perspective. The spaiial layers follow the depth dynamics of the picture in accordance with the principles governing the use of cool, silver blue shades in the background, and warmer gold-green ones in front. The foreground is dominated by the fiery red surfacc of Mary's garment - a colour which leaps out at the viewer by virtue of its optical characteristics. However, this painting is not of the author's own devising but is a rather faithful imitation of an engraving by the Duich painter Jan Harmensz Müller." The painter used Muller's print Rest on the Flight to Egypt'1 which was engraved in copper according to Muller's own invention in 1593 (pi. 50).111 In the person of Jan Harmensz Müller, a highly professional Amsterdam engraver of the Spränge re squcly oriented Coltzius school.11 copper engraving at the end of the Ibtli century achieved exceptional sophistication and elegance typical of Romanist art.n This outstanding master used his burin with Ehe skill of a virtuoso, His compositions are light, weightless, softly modelled and elegantly proportioned The highly refined representation of figures on one hand and the brilliant technique on the other are related toSpranger's highly sophisticated style pursued in Cioltzius" school and technically developed to the highest possible degree.11 I E, g. Mary 's elongated body in relation to the s ma 11 head, " Jan I Jnrmens/.. Müller. 1571 Amsterdam - 162S Amsterdam. * F W. H. Holl stein: Dutch and Flemish Etchings, Engravings and Woodcuts cca. 14501700, Amsterdam 1949 ff. {Hollslcili}. Vol. XIV/105/(15}, ™ The Thieme-Betker Lexikon cites OnrriI Pieterszas Lhe probable inventor (Ulrich Thienie - Felix Becker; Allgemeines Lexikon der bildenden Künstler, Vol. 25, Linz 1931). " El is nol known whether Muller attended Gollzius's school or became acquainted wiili Iiis siyle through his prims, Cf. Hans Mielke: Manierismus in Holland um 1600. Kupferstiche, Holzschnitte und Zeichnungen aus dem Berliner Kupferstichkabinett ^exhibition catalogued. Berlin 1979,. pp. 11-12. II The engraving developed through the collaboration Ol Italian and Dutch engravers working in Italy. '1 l*or Muller cf. H.li-C, Mazur, Go It/ills' sk etc lies for Muller's Seven Days of Creation and Math am1 s Four laments, Oud Holland, Jjargang Volume 102, 19RR. Nr. 2, pp. 174-ISO; Marijn Schapelhaunran: NederIandse tekeningen omstreeks 1600 / Netherlandish Drawings circa 1600 ¡exhibit ion catalogue |. Amsterdam llj87,pp, 97109. 105 The art of Bartholomäus S granger, the spiritual father of the last phases of Mannerist painting in the North, left a significant mark on contemporary graphic an the centre of which had transferred from Antwerp to Holland Although northern Mannerism was first influenced by Italian art, it took the lead in the development of graphic art and by the end of the century had spread its influence over the whole of Europe,|J In spile of the revival of realistic trends at that time that were a mark of Dutch art, northern Mannerism preserved the characteristic Italian component thai is reflected in the idealized, plastically expressed figurai style, ihe eontrastive light. Mannerist artificiality and extravagance. Jan H. Müller adopted Spranger's types of figures with their elegance of pose and gesture from his model Hendrick Goltzius, in particular, he followed the master in the technique of the reformed copper engraving, ihc ideal of which penetrated into the world of Dutch graphic art with its manner of thick and thin lines and the rhythm of distances between them,11 Goltzius1 style of taut, rounded off lines was tested by Muller in the most virtuoso manner and developed to a point where the consequences were extreme. Mailer's print Rest on the Flight to Egypt0 is an image of eroticized style which could only be achieved by following Italian models. The synthesis of Dutch sensuality and Italian elegance, together with the effect of gradually increasing light, the penetration of depth and the concern to achieve a pictorial effect by refusing to use contour lines - all these elements show a sophisticated Romanist style adopted from Goltzius. The fine lines of graphic texture are strung and puipuseful, conforming to the bodily forms with a supple touch. The master creates strong chiaroscuro effects by using parallel thick and thin lines, whereas the spacial perspective is achieved by the tonal scheme of the background. Muller1 s image follows a kind of idealized vision which surpasses the possibility of imitating the objective world The traditional northern search for a balance between the real and the fantastic18 also remains an inner tension in his composition that even within Mannerism as an antinaturalistic style preserve a duality of pure imitation and highly imaginative creation, Thisduaiily can be seen in Mary's figure and in the landscape, where the empirical study of nature meets with purely imaginative constructions. The fictitious spatial constructions are duly arranged, hut realistically presented. The idealizing, creative interpretation led to the birth of a kind of fantastic landscape that always remained realistic to a degree. While 14 Komad Ohe rh über: Zh i.frAin Renaissant e und ¡¡a rock. Das Zeitalter von Brueget und Beilange. Werke tins dem Besitz der Albertina ^exhibition caialoguet'", Wien i 467-ISK (Oberhuber: Zwischen Renaissance und Barock), p, 9, 11 Hendrick Goltzius followed this style between 1580uml 1615, " Oberhuber: Zwischen Renaissance und Barock. pp. 227-211 ' ' The scene is an engraving and measures 228 * 203 mm {plate impression). Three states of the plate uje known. The signature is at the bottom right. Joannas Muller fecit 1593. Under the scene there ore four lines in Latin: Quid mortem,., potest. Below in the middle: Harnum Müller ext ud. This is Jan's l'allier, an Amsterdam publisher. " Cf. Anne W. Lowenthal: Joachim Wtvwuel und Dutch Mannerism, Davaco Groningen 1986, p. 24. HI6 Italy laid the foundation for the systematic presentation of space, it was in the north that the observation of nature grew out of the latent feeling for reality." This is particularly evident in 16th century religious motifs.1" The confrontation with nature - in landscape, still-life and genre - can be seen very clearly in Goltzius1 trend in art, which was also followed by Jan H Muller.2t The Studenice oil painting was also pan of the game of moving towards and away from realism. Comparison with original prints confirms, on one hand, the practice of cxact copying and on ihe other reveals a number of deviations from the model. Although Mary's figure is identical with the model even in its physiognomical details, the build of the figure is rather heavier and fuller than Muller's graceful example. In the manner of the draping, the original, with its shining smooth, swollen quality, again differs from the copy, where the folds are shallower and hug ihc body more closely. The anonymous copyist's details, such ¡is the hands, are weaker, while the Child docs not seem to be particularly successful in either picture. The relation of the central figure or the figure group to the environment in which they appear always presents a considerable problem for the copyists of ihe lime.3' As a rule, the protagonists lose then harmonious co-existencc with their vital surroundings. In contrast to Muller's prints, where the ccntral figure is embedded in the landscape, the Holy Mother painted by the anonymous artist does not live in the landscape, but has simply been set down against the background. Light also separates ihe lonely, isolated figure from the background, which appears as a kind of landscape setting for the figural scene. Compared wilh the fine hatching in ihe engraving, the light in ihe piciure is executed in a rather simplified manner," Deviation from the prmt is obvious in (he painting of landscape as far as motifs are concerned. Jan H. Muller's landscape is bizarre and Mannerist in style In the Search for a balance between the real and the fantastic it unites elements of Italian idealization with the Dutch tendency towards realism. In comparison with the previous period of high Mannerism, when landscape painting was not equal to figural painting, the late phase of the last decade of the Itiih century in northern Europe shows a new turn to nature. However, in most cases this nature has an unreal character - it frequently consists ul rocky layers of fantastic shapes, such as one finds in Muller's engravings. The monumental abysmal rock, like a Hat shutting "' On (he conception (jf $pgce aw! landseape in Ihe Mannerist period in Holland cf. the study by Fleinrich (jerbard Fr&n/, Niederlandtsche Landschafismalerei im Zeiialwrdes Mcmierismtts, Oraz 1969. In terms of landscape Ihu Studenice oil painting is related to a print by Herman van Swanenburg from a scries of twelve landscapes. Cf. print Nr. 5 under the title Flight to Egypt. A considerable similarity to Muller's image of Ihe figural group and landscape as a Whole can he seen in the print by Peter de Jode (Gerardde Jode exc.) Rest on the Flight to Egypt. The print probably used an invention by Hendrick (jolt/ius. All these similarities prove the existence of mutual influences among artists and groups of artists. Obcrhuber: Zwischen Renaissance and tin rack, p. 199, " Ni> figures on the panels or oil paintings of the !7ih century in Slovenia beat real connection to their vital surroundings. 1 li.g. the hatching on Mary's cloak. 107 off the left side of the picture, was replaced by the master uf the Studeniee oil painting with a softer lyrical landscape with trees, and the way to the background was open, In spite of Uie higher degree of verisimilitude, he expresses a more subjective than empineal truth about the presented landscape, but nevertheless preserves the tradition of Dutch landscape painting, In examining the correctness ol perspective in the Studeniee oil painting we have established that the figure of Joseph is too abrupt in its trend towards the background, but o titer wise the dynamic, lively figure is even more elaborate than that in the model. Analogies concerning this detail can be found in the identical motif of the Rest on the Flight to Egypt by the Flemish engraver Philips GaUe-J based on an idea by Marten de Vos. St Joseph appears m much larger dimensions so that even Jan H. Mullcr could have been inspired by him It is often ihe case that even more original artists used foreign stimuli in their work or influenced one another. The second work in our series of three represents Si Cecily - a Roman saint and martyr - from the Celje church o t the same name" and was painted in 1627 (pi. 51).w The painting has no signature; its author is probably the puinicr Chrisloph ;* The composition is related to Mu ller's. Mary also occupies ihe ceniral place under the tree and feeds the Chi Id, The bundle is at the bottom left. Signature; Marten de Vox in v.,* fh. Galle esc ude bat. " A. Dimitz. Uistoriselie Noiizcn aus den in Museal-Archive aufbewahrten Kalendern des BischofsTh. Chion, MHK. 1862. p. 90; A. Feknnja, Celje in okolica. PS. 18«. p. 724; Katalog zgodovinske razstave slovenskega slikarstvu, Ljubljana J 922, pp. -1-5; F Šteli. Zgodovinska razstava na Slovenskem, Jugoslavijo, it, 315, 20- 'V 1922. p.2; I Cankar, O kritiki zgodovinske razstave slov. slikarstva. Slovenec, št. 210,26. 9.1922. p. J; J. Mlntualti, Slikarska umetnost naših dežel v prošlih dobah, DS, XXXV, 1922, p. 456; J Mantuani, Po zgodovinski razstavi slikarstva. Slovenski narod. Št. 224. 3. 10, I922.p.2; J, Mantuani, Zgod. razstava slikarstva^Slovetitc, it. 199,12.9.1922, p. 2; P, Slelfe. Zgod. razstava slikarstva na Slovenskem, Čas, 3.'123. pp. 62-64; F. Stelfc, Varstvo spomenikov, ZUZ. IV. m2d, p 156; M Marolt: Dekortija Celje. Maribor 1931, pp. 9S. 104; A Gaber. Naša Narodna galerija. Slovenski narod, 22. 6. 1933. p. 3; F, Šteli; Monumenta II, Ljubljana 1938, pp. 2,6, S, 15; F.Stelfe Umetnost baroka na Slovenskem, Ljubljana 1957, p. 9; J. Curk: Topografsko gradivo I. Sakralni spomeniki na območju obCine Celje, Celje 1957. p. 30; E. Cevc; Slovenska umetnost, Ljubljana 1966, p. 79; F. Šteli: Oris zgodovine umetnosti pri Slrivrncih, Ljubljana 1966. pp, 55,57.59.60; Ccvc. Slikarstvo 17, stoletju, p, 52; Ro/man, Slikar m vo, p. 136; Ivan S lopar; Celje, Kulturni in naravni spomeniki Slovenije, 37, Ljubljana 1973, p. 27; AnaLavrič: Vloga ikofa Tomaža Hrena v slovenski likovni umetnosti / Die Halle des Hischofs Tomat Hren in der siowenischen Kunst. Ljubljana 1988 (Lavrič: Vlaga ljubljanskega ikofa Tarnata Hrena). pp. 122,123, 155-1 58; Ivan Stopnr; Mesto Celje in njegovi spomeniki. Kulturni in naravni Spomeniki Slovenije, 178, Maribor 1991, p. 37; Jane/ Hofler: Ana LavrtC, Vloga ljubljanskega škofa Tomaia t ire na v slovenski likovni u met nos I i [report j, ZUZ, n.v. XXV, LJubljana 1989. p. 123, ** The scene is done in oil Oft canvas ¿ndduLcd 1627. At the bottom It'l l the initials f. L A. I', .lie written next to Hren's eoat-of-arms. This s lands for Ihe bishop's motto: Terret labor, aspice praemium. In the right hand corner the artist painted Ihe COftt-Of-arms of the Ljubljana bishopric and added the initialsTHQ. E. L. (Thomas, EptSCOpuS Labacensis). On the pages of t tie open book at the female saint's feet: CANTANTIB/ORGAN IS CEC! ¿12A DOMINO DEC ANT A BA 771)1 C ENS I / HA 7 COM MEVM t VTNON CONFVN / DAR (the an t i ph on sung by the Church to the Woman Saint 00 her holiday), in 1966 the painting was restated by Izidor Moli 108 Wcissmann. one of the leading early 17th-century Mannerist painters in this country.:T The painter probably originated from CarinUtia; in Slovenia he was active for less than two decades. He was one of the most important and appreciated collaborators of the Ljubljana bishop Tomai Hren Wcissmann's authorship of the Ccljc painting of St Cecily is noted marginally in Hren's personal calendar notebook." The title figure occupies a dominant place in the pleasing Mannerist scene; at the same time a crowd of musical instruments is arranged on Ihe surface in accordance with the principle of decoration. Their abundance, however, shows not only a love of narrative detail, but a proper Mannerist abhorrence of empty space, The painter does not focus his attention on the most important object in the picture, but disperses it among the peripheral objects and events, colour emphases and flashes of light. This stylistic concept is followed by minor episodes which give a complete illustration of the legend of the Roman saint's martyrdom, filling the available space. According to the only St Cecily's Passion preserved from the 5lh ecnlury, the virgin saint is said to have lived at the time of Pope Urhanus I in the 3rd cemury. Her grave was discovered in Calisius's catacombs beside the pope's crypt. The legend has it, that the Christian patrician lady was sentenced to death and emerged from the flames unharmed - she should have been burnt in her own house in the stove for heating balh water. When it came to her beheading, she remained alive after three blows of the sword for another three days, distributing her property during that time, As a music patron she began to be worshipped in the 15th centurytM becausc she was said to have sung praises to God in her heart when the wedding ceremony took place. According to the legend she was so near to heaven that she heard the angels singing. She is said to have had the ability to play all instruments. But since she was not able to play the heavenly melodies that she felt in her soul, she invented the organ and dedicated it to God's worship. Thus she became patron 10 musicians, poets, singers and organ makers St Cecily of Celje is an extravaganl gentlewoman in a solemn, theatrical pose, holding the palm I wig of martyrdom in her left hand and a iloral wreath in her right. 1'his is a wreath of lilies and roses that she received from the angel on taking her vow of chastity. The figure is marked by aristocratic elegance and serenity, not devoid of academic classicism, which appeared parallel with Mannerism in northern Europe during the late 16th and 17 centuries. The saint radiates a serene restraint in her expression, us well as her gestures and the poise of the body, clad in a rich heavy garment with a fashionable brocade pattern in the Mannerist style. The drapery is tectonically arranged and subordinated to the aesihelicized decorativc principle of folding. 11 1 .avriC; Vloga tjubljanskega tkofa Tomato 11 raw, pp, 155 -158,335. :I Bishop Hren wrole down in his calendar notebook the sum of money that he paid the painter f»r the picture of St Cecily. " In 15K4 AIcksander Matino established in Rome a musicians' association, the Brotherhood of St Cecily. 111 Liksikon ikonogrqfijc, (ilurgike i simboltkc ztipadnog kridanstva, Zagreb 1985, pp. 17H-179: U-to svetnikov, tV, Ljubljana 1973. pp. 366-3(57. 109 The saint is surrounded by a rhythmical circle of musical muniments which in spite of the master's aticmpt at breaking into space denies the three dimensionality of the picture, creating the impression of ihe motif arranged on the surface of the field of vision. The static frontal concept is connected with the additive manner which arranges otherwise unconnected objects to create a crammed composition The central figure and its attributes are stressed by the neutral background, Thus a typical Mannerist relationship is created between the narrative detail and the composition as a whole. Apart from the Mannerist abundance of objects arranged on the surface of the picture, the painter of the Celjc painting introduces into his story a number of anecdotal elements from the legend of the saint's martyrdom On the righthand side of the background the beheading episode is presented in miniature scale, and the right is filled with monumental architecture. Along the bottom edge of the picture, the medallion is held by two angels and contains the motif of the saint's hody in the same pose as in 1599, when she was found in her grave. In spite of the unclear spatial design there is a strong emphasis on the symmetrical axis inherited from the characteristic Renaissance principle of composition. It is extended and forms a triangle, at the same time developing the scene almost on the very surface of the picture, according to accepted Mannerist rules. The central composition and the dispersal of the visual and narrativ e emphases arc the basic features of the setting of the scene. The result of the master's analytical approach is a detachment of the parts, which gives the impression of a kind of herbarium of forms that appear isolated and without any hinding force to Organize them in space. The spectacular light provides the structure, dynamics and modelling of forms in a manner found in the Studcnice painting, whereby the contrastively lit surfaces correspond in glowing light and deep shade. The colour spectrum reflects the influence of Italian painting (Venetian tcncbrosityj. The scene is evoked in deep brown nuances with contrastive accents of red and green. The painter produces his forms in layers of colour, whereby no line of the homogeneous colour texture can be seen.11 This painting is completely different from the last in the painter's relation to nature and the immediate environment of Ihe figures, We are confronted with the typical Mannerist negation of nature in the role of magistra artis, which is also evident in the Mannerist idealized female figure. The fictitious construction ol space follows the aesthetic rule according to which the artist should draw primarily on the intellect and imagination,^ This, however, leads to a loss of harmony between man and his natural environment. The figures thus tend to be suspended in a kind ol irrational medium, which is also Hue of the St Cecily oil painting from Celje. The world of objects is not the focus of the painter's attention; his bizarre " The influence of Venetian painting can he seen not only in the coloration but also in ihe technology. ,J The Academy of Florence staled its theoretical viewpoint In the demand thai a work of art should be [lie \pi ritual copy of [lie author's k)cj The work of art is then I lie re 11 eel ion nt'the anist's imaginative world Jinil not a slavish imitation of nature, 110 imagination draws him a Way trom observaiion of ihe world of objects. Presenting nature in its everyday reality is considered devoid of inspiration, or of a quality called invenzione. At that time Mannerist invenzione was prized. It was to be as playful and exaggerated as possible. The result of this invention is generally so complicated and blurred that it can hardly be made out. In the case of St Cecily the image of the saint is nearer to allegorical painting than to the motif from traditional Catholic iconography. Mannerist an with its intellectual substance delighted ill ambiguity and speculative solutions. This was the art of the more advanced intellectual world which consciously avoided clear and simple language. It was intended lor patrons from the upper intellectual echelons, in ihis case this is the Ljubljana bishop Toniai Hren, humanist and lover of fine arts, who favoured Mannerist ambiguity, hidden meanings and excess. The Urbino painter Federico Zuccaro, for example, Writes in his Iheuretical essays that the more art is deceptive, ihe more perfect it is." Here we are concerned with an aesthetic imperative based on neo-Platonist premises of ambiguity and indistinctness. The motifs in visual art thus become rebuses, and art becomes complicated and erudite. Authentic sources of visual experience have been replaced by speculative endeavours. In the case of St Cecily from the Celje Capuchin church it is the palm twig that establishes the figure as a Christian martyr. The female figure is presented as an allegory of music or the personification of Hearing in saintly guise. As to the figure's pose, it could also represent one of the muses, such as Chastity, one of the He pie m Aries Liberates ctc.N The humanist nuance in the scenes based on the Christian concept of the world is certainly the consequence of the dialogue between the humanities and theology. or the irruption ill Italian humanist imaginativeness into the world of 16th-century religious iconography, Ii may also be the result of the demands expressed by ihe classically oriented and humanistically educated patron. As to style and meaning, the formulation of the Celje oil painting is related to a print by Jan Sudder 1.1S engraved according to a motif by the Flemish painter and draughtsman Marten de Vos(p!. 52).lr"lt is the third prim" from the scries Speculum Pudicitiae. a series containing 16 female saints and martyrs.1* It is certainly no coincidence that the patron Bishop Hren, with his refined understanding of music and his special appreciation of the saintly protectress of sacral music on one hand and his humanist orientation on the other, at least approved, if not decisively influenced, the making of ihe painting related to the above-mentioned print. The 1' federico Zuccaro in his work I.'idea tie Pi nor i, Stulrort ed Arthilein. 1607. 11 A similar allegory of music can be found in. for example, many graphic scries b> late Renaissance and Mannerist masters. » Jan Sadder, 1550 Bruxclles-1600 Venict. Marl en de Vos, 1532 Antwerp - 1603 Antwerp. Cupper engraving, i90x 129mm. Hollstcin XXI/ 141 (341-337) and XXII/ 141 1347). The signature ill the bottom tight between the instruments: Sadlertxcttd.', in the open book: M. de Vos/figuraS,below ilie scenc two lines of Latin text: Caecitia et... petebat. " The series contains I ft scenes and the liile page with the inscription in the oval: SPECVLVM PVDICtTlAE CONTEMPLATIO SANCTARVM CASTAS?VMQVE VIRGIN AM, A scries of male sainis follows. Ml Ljubljana bishop used to define the iconography or even selected ihe graphic models to be copied. " The mode! presenting Sadeler's artistic solution was probably the very incarnation of his own views and imagination The engraving shows the frontal figure of the saint constituting the basic compositional triangle in the picture. The exquisite fashionable garment with its late Renaissance pomegranate pattern, the still-life of musical instruments and the elegant linearity of the graphic technique are elements of the Italianesquc decorative trend followed by both the copper engraver and ihe inventor, both of then; accomplished Romani si masters, originating from Antwerp in the late 16th century. The assimilation of the Italian formal idiom was particularly strong in this town. The expertise in space and physicality obtained in the Renaissance era, and the elements of the Italian education of both Antwerp masters, arc reflected in the Tintoretto-like fashionable lady,"1" in the space apprehended from a single per-speclive point and the pronounced diminution in the background In spile of the rather typical Renaissance aesthetics, the Mannerist trend towards liberation from order and classical learning is obvious. Inclined towards Italian art and its rhetorical evocation, Marten de Vos