ALEGORIJA PETIH ČUTOV NA FRESKAH V GRADU JABLJE IN NA SLIKANIH TAPETAH IZ GRADOV DORN AVA IN ZAPRI CE' Barbara Muimt, Trzin V prvi polovici 18. stoletja so v Augsburgu ustvarjali številni umetniki, ki so postali priznani slikarji Sele potem, ko so ie nekaj let uspešno delovali kot bakrorezci. Johann Georg Uergmüllcr, Johann Evangelist Hölzer, Johann Wolfgang Bau m gar iner, Matthäus Günter, Gottfried Bernhard Gütz, Johann Esaias Nilson in Johann Elias Ridinger, če naštejemo le najpomembnejše, so bili tudi ali predvsem grafiti.' V njihovem času je Augsburg postal srediSie ncmSkc grafične produkcije. Veliki umetnostni založniki - Engel brecht, Hertel in Pfeife! - 50 potrebovali risarje predlog in rezce ¡ca svoje vsestranske programe, tako da skoraj ni bilo mladega umetnika, ki ne ti delal za eno teli založb.' Poseben pomen j« imel Augs-burg itidi za slovensko slikarstvo, saj sta tam uskala svoja dela vsaj dva od naSih znanih baročnih slikarjev. Franc JclovSck in Valentin Metz ing er, zelo pomembno pa je tudi, da so grafični listi, ki so delo najpomembnejših predstavnikov augsburškega rokokoja, rabili kol predloge slovenskim slikarjem. Tako jc po dveh hakroreznih serijah J. E. Ridingerja naslikan lovski cikel slikanih (apel iz gradu Zuprice/ slikar fresk v dvorcu Miljana na HrvaŠkem je uporabil Holzerjcvc grafi- 1 Podlaga za članek je seminarska naloga z naslovom Baročne slikane !apeie na Slovenskem O graßCnih predlogah in motivih, it i .te pojavljajo na ciklih iz gradov Zaprla. Jubljt in Domova in nekaj drugi ga gradiva o umeirtinuh, ki so povezone s to problematiko, Oddelek za umetnostno zgodovino. Filn/ofsk a fakulieta, Ljubljana 1991 f mentor prof. dr. Milček Komelj). Posebej bi sc rada zahvalila prof, dr. Levu Menašeju za vse spodbude, napotke, provokaiivn a vprašanja m kritične pripombe ter mag. Jasni Horvai iti Miirjeti CiglencCki, kustodiajama muzejev, kjer danes hranijo slikane tapete, za marsikatero opozorilo pa tudi mag. Marjani LipoglavSck, ' Lydia L, Dewie]. Aus dem Leben eines Augsburger Kupfersteehers und Verlegers: Johann Esaias Nilson, v: Bayern im Rokoko: Aspekte einer Epoche im Umbruch (H. Shind-ler, ed.), München !9B'J,'p. 70. 1 Ibid., loc.cit, 1 Ri dinge rje vi seriji: Grosser Herrn Lust in allerhand Jagen in Die Fürsten Jagdlust. Grafične lisic hrani e.g, Staatliche Graphische -Sammlung v Münchnu. Za pregled Ri-dingerjevih grafik cf. Wilhelm Thiene mann: Leben und Wirken des unvergleichlichen Thiermalers und Kupferstechers Johann Elias Kidinger mildem ausführlichen Verzeichnis seiner Kupferstiche, Schwarzkunstblätter und der von ihm /unterlassenen großen Sammlung von Handzeichnungen, Leipzig 1856. Njegovo klasifikacijo upoštevajo v si raziskovalci in posamezne liste označujejo s kratico Th, in ustreznim številom, ia| pajc "I Iii ene man no vode I o h rez reprodukcij. Lovüki cikel iz 7-Upric (dane^ hranjen v Narodnem muzeju v Ljubljani) je posnet po naslednjih Ridingetjevih grafikah: Th. 1 25. 27, 34 in 37. 133 ko Štirih lemih časov in štirih temperamentov,5 kar tri slikarske stvaritve, dva cikla slikanih tapet (iz Zapne in iz Dornave) ter freske v Jabljab. pa so nastale z naslonitvijo na grafično serijo petih čutov G. Ü. Giitza. Gottfried Bernhard Götz (Goetz, Götz)11, ki se je rodil Ida 1708 v Vclehradu na Moravskem, se je najprej učil pri Franzu G. J. Ecksteinu v Umu. Okrog lela 1730 je priäel v Augsburg, kjer je bil Bergmilllerjev učenee.'' Učitelj je vplival predvsem na figuralni stil mladega umetnika, ki se jc kol slikar uveljavil Šele po ietu 1739, ko je po naročilu bankirja Cliristiana Georgs Küpiu naslikal freske v hiSi na Philippine-Welser Strasse v Augsburgu, Götzovo najpomembnejše delo je poslikava stropa romarske cerkve v Birnauu med letoma 1749 in 1750. Ker je Gottfried Bernhard Götz ie leta 1737 skupaj z bratoma Klauber osnoval bakrorezdO založbo - prvi list grafitne serije, ki predstavlja alegorijo ¡JCtih čutov, pa ima v desnem spodnjem kotu zapis "J, A. Pfeffel excucl. A. V." - je verjetno, da jo je Götz izdelal ie pred letom J 737 (si. 69).e Vsaki od grafik petih čutov so spodaj dodani ver/i v francuičini in nemščini, na kamnitem podstavku, ki nosi upodobitev, pa ime čuta v latiničini, O.srednji prizor predstavlja žanrska scena, to pa obdajajo iivali, herme in ostali predmeti, vsi vzeti iz bolj ali manj uveljavljene zakladnice simbolov, ki so skozi stoletja določali ta ali oni čut (si. 66, 69, 72. 74 in 79). Kot rečeno, je GdtKova serija petih čutov pomembno odmevala v treh slovenskih slikarskih ciklih iz sredine IS. stoletja Žele s poznavanjem te grafične pred loge lahko zatrdno določimo ikonografijo fresk v jedilnici jabeljskega gradu in dveh ciklov slikanih tapet iz gradov Zaprice in Dornava. Ko so haroni Janei.iči sredi IS. stoletja obnavljali grad Jablje, so naročili tudi poslikavo reprer.entativnejših prostorov, med njimi tudi poligonalne jedilnice v * Bakroreze hranijo e.g. v augsburikem grafičnem kabinetu, reprod utiram pa so bili tudi v delu Jürgens Rappa, "J. Holzcr fccit sub Dircctionc Domini J. G. Bergmillcr", Bruc-kmnnns Pantheon, XLVIN, 19'JO, pp. 50 - 91. Na freskah, ki so pripisane Antonu Ler■ chingerju (cf. Anica Cevc, Jožef Anton Lerchinger, Likovna enciklopedija Jugoslavije, II. Zagreb 1987. p. 187), so naslikani vsi letni časi in dva temperamenta (sangvinik, koleri k) • vsi so v celuli natančno pre risani po Ho!/.i rje vili bakrorezih. 1 Ulrich Thie me -Felix Becfccr; A Ugane ines Lexikon Je r bildenden Künstle r. XIV, Lei p-zig 1921, pp. 319 - 320; G. K. Nagle:: Neues allgemeines Künstler-Lexikon. V, München 1837, pp. 259 - 260; Eduard Jsphording: Gottfried Bernhard Göi 1708 ■ ¡774: Ölgemälde und Zeichnungen, Weißcnhora 1982; Rudolf Wildmoser, Gut tfried Bernhard Güz (170S - 1774) als ausführender ¡iupferstcchcr. Untersuchung und Katalog der Wer kc, Jahrbuch des Vereins für Augsburger Bistumsgeschichte e. V'., XV1J, 1984, pp. 257 -340, XIX, 1985. pp. 140 - 296 (od lod citirano Wildmoser G#l). ' Vsaj dva ducata bo ¡j ali manj pomembnih slikarjev 18. stoletja seje izoblikovalo v Bcrgmillierjevi delavnici, ali pa jih je ta vsaj poučeval na augshuriki slikarski akademiji, katere direktorje postal leta 1730. Cf. Alois J Weielidgarlner, Der A kade mied i rektor und sein Coinpagnun: Ein Kapi tel Augsburger Rokokomalerei um Hergmüller und Hölzer, v: Bayern im Rokoko: Aspekte einer Epoche im Umbruch (H. Schindler, ed.), München 1989, p. 20. ' Cf. Wildmoscr: Güz. I9E5, p. 191. PüWildmoscrju je Götzüva alegorija nastala okrog leta 1735. 134 vzhodnem stolpu,* Zaključena celota v njej so freske pod okni; v rokokojskih okvirih so naslikani žanrski pribori, ki predstavljajo pel čutov. Freske so danes močno poškodovane, vendar v glavnem ie i tih k o rauherem» posamezne prizore:1® Vid: dve ženi in moi v pokrajini opazujejo sliko11 {si. 70), (GOtz, si, 69} Sluh: pastirji, ki igrajo na rog in gajde (si, 64). (Vir za prizor je neznan.) Vnh: sedeča žena vonja cvetlico. ob njej stoji deček in kaže na posodico1* (si, 67), (Götz, s 1. 66, dvojico z GOtzovc grafike je zamenjal deček,} Okus. mož z visoko dvignjenim kozarcem in i.ena. ki okuša sadje, sedita za mizo in se gostita (si. 80). (Götz, si. 79) Tip: V ospredju pleše par (grafična predloga ni znana), v ozadju na levi se objema mlada dvojica, na desni pa je "portal, na katerem se poljubljata dva golob-čka"13 (si, 65). (Götz, si, 74) Jeiovjek je po Götzovih bakroreznih listih vsaj delno naslikal kar Štiri čute. Tudi tam. kjer se je odmaknil od predloge, je zavestno ostajal pri ikonografsko uveljavljenih motivih, saj je na primer slikanje muzicirajočih moi. torej povezovanje glasbe S sluhom, V navadi za vse slikarske upodobitve alegorije " Precej več ikonografskih nedoslednosti oziroma nejasnosti opazimo na slikanih tapetah iz Zapric in Dornave, vendar |e jasno razvidno, da sta se slikarja zavedala vsebine grafitne predloge in tudi sama želela upodobiti alegorijo petih čutov. Posebej zapletena in nepojasnjena je zgodovina zapriškega cikla, ki je nastal v isti delavnici kol ie omenjeni lovski cikel, naslikan po Ridingerjevih grafičnih '' Preske, datirane z letnico 1745. in istočasno nastale slikane tapete (danes hranjene v Narodnem muzeju v Ljubljani) sov slovenski umetnostnozgoduvinskt literaturi znane kot delu Franca Jelovika. Cf. Stane Miku J. Slogovni razvoj Umetnosti Franca lloví ka i 1700-1764), Dom in jvïî.LII, 1943, p, 275. Slikane lapeteso verjeinodcIoJelovikovc delavnice. Popisal jih je ?c France S te lt: Politični okraj Kamnik: Umetnostno topografski Opis, Ljubljana 1929 (od tod ci (ira no Stelfe- Politični okraj Kamnik), pp. 444-446. 11 Po S teletu "se ena f e na gleda v zrcalo" (S rt It; Politični okraj Kamnik, p. 446), Ogledalo je res ie od najzgodnejših Upodobiiev pciih čulOv stalen simbol, nekoliko kasneje pa zlasti že na. ki se gleda v ogledalo, cf. Cari Nordeulalk. "The Five Senses in Late Medieval and Renaissance An, Journal ofthe Warburg ami Courra ti M Institues, XLVlll, 1985 (od lod citirano Nordenfalk; The Five Sehtes), p. 2 ss., vendar ga ne najdemo niti na Gotzovi grafiki, kjer je z verzoma 'Quand je regarde bien, comme il faut, ce portrait,/ Mort coeur est plein tl'amour,.. " ie dodatno poudarjeno, da skupinica gleda sliko, niti na nobeni obravnavani slovenski upodobitvi, ,J StclÈL Politični okraj Kamnik, p. 446. opisuje prizor kol "Amor ob odprti skrinjici /a dragulje". Ni povsem jasno, za kakšno posodico oziroma skrinjico gre. Ta del freske ustreza Giil/.ovi dvojici: kjer sedeča i.ena pridržuje šaluljicO: moíeva kiclnju ni nalan-CnO razberljiva, verjelno hoče vzeti njuhancc ali paslresadiftavo v posodico. 11 Stelč: Politični okraj Kamnik, p. 446. Danes je viden le £c pori al. '* Veijetno je, da se je JelovSek v celoti naslonil na grafitne predloge, Posamezne figure in prizori na slikanih tapetah, ki so krasile isti prostor, so posneti po slikah francoskega slikarja fîtes gafantes Nicolas a Lan ere ta, katerega de i a so bila pri nas znana prek prevodne grafike- Kom poni ranje figur i. del francoskih in ne mikih umetnikov ne bi hijo izjema (cf nadaljevanje odofBBvsfcih slikanih tape i ah). Možen vir za jabeljske freske « poleg Lancrelovihdel /dijo tudi grafike in slike Fançoisa Boucherja. 135 listih,'* Oba sla danes v Narodnem muzeju v Ljubljani, ko pa ju je v dvajsetih letih naiega stoletja fotografiral in v svoji topografiji naštel France Siele, sla (Se vedno) krasila grad Zaprice."' Posamezne slikane tapete so bile že takrat razrezane, obeiene so bile na različnih delih stene in si niso logično sledile. Problem pro venieneti obeh ciklov ostaja zaenkrat odprt, možni pa Sta predvsem dve razlagi: slikane tapete iz sredine 18. stoletja so ob prezidavah v drugi polovici stoletja razrezali in prilagodili prenovljenim prostorom ali pa so tapete najprej krasile notranjost nekega drugega gradu in bile kasneje prinesene v Zaprice." Alegorija petih čutov je bila v Zapricah predstavljena z naslednjimi scenami, od katerih je ohranjenih Jest kosov oziroma Štirje prizori, iri slikane tapete pa so izgubljene:"5 Vid: "Pokrajina S pergolo in vazo, na katere podstavku Stoji pav."1* (Tapeta ni ohranjena, pav je upodobljen tudi na Giitzovj grafiki, si. 69.) Sluh: V vrtni arhitekturi plešoči par in moška, ki igrala na lutnjo in klarinet (si. 71 J. Sedeča žena, ki poje. in klarinetist pred podstavkom z vazo m papigo (si. 84 in 85). "V pokrajini mož, igrajoč na gosli."15 (Tapeta ni ohranjena,)11 Voh "V pokrajini žena. ki se igra s psom,"-" (Tapeta ni ohranjena.) Pod hermo sedeča moža in žena pri pojedini (si. 82 in 83). po tj o tz ti sta posneta desni pivec in herma (si. 79). Tip. Moški v igralski noši, ki v desnici drži raka (Gotii, sJ, 74), v ozadju zaljubljeni par in spredaj skupina, ki igra "tihtarja biti" (si 77). Slikar zapriškega cikla se je precej manj posluževal Golzovih grafičnih listov kol slikar jabeljskih fresk, Na ohranjenih slikanih tapetah sta 7. Gtiizovih bakrorezov natančno prerisani le dve figuri in konstitutivno vključeni v nove kompozicije, ki SO tudi posnele po grafičnih predlogah", to dokazuje zlasti prizor "rihlarja 11 Za tu govori stilna sorodnost, koloni, identične bordure, tehnološka sestavu barve (za vse pomembne informacije o barvah in tehniki se zahvaljujem akademskemu slikarju, restaviatorju specialistu Matjažu Vilarju, ki vodi restavriranje slikanih tapet iz gradov Zaprite in Sahlje) iti tkanina v vezavi platno z enako debel imi in pletenimi nilmi, '1 Šteli: Politični okraj Kamnik pp. 92-93. Fotografije hrani Zavod republike Slovenije za varstvo naravne in kulturne dediSčine. 1' Ker jc grad Zapricc v 18. stolulju neprestano menjal lastnike, jc mogoče, da se kasnejši posestniki niso zavedali niti ikonografske vsebine tapet niti smiselnosti posameznih prizorov. O lastnikih ef. Majda Smoic; Graščine na nekdanjem Kranjskem, Ljubljana 1982, p, 559, " Ranče Šteli je naštel osem tapet m /a dve zapisal, da sta "nedvomno tvorili... celoto", Slikana tapeta pod Številko 6 je danes razrezana na dva delu, niso pa se ohranile tapete pod ilevilkami 2, 5 in l. Cf, Siete: Politični v k raj Kamnik, p. ^2. " S teli: Politični okraj Kamnik, p. 92. 511 ibid. 3i Alegorija sluha je bila torej naslikana kat na treh tapetah. Tudi čejc goslač (tapeta ni ohranjena) seslavljid celoto s flavtistom in pevko, je bil sluh upodobljen dvakrat, Ker sta bila glasba in ples v rokokojskem žanrskem slikarstvu najpogosteje naslikana, se zdi verjetno, daje slikar, ki je moral velikost in število slikanih tapet prilagoditi prostoru, praznino zapolnil s to. z.a lisli čas tako značilno upodobitvijo, " Stile: Politični okraj Kamnik, p. 92. 136 bili". saj je identična upodobitev na jabcljski tapeti (si. 78).33 Na zapri&kih slikanih tapetah pa se srečamo z vsebinskim poudarkom, ki ga na freskah v Jabljah ne opazimo in jih zbližuje s samimi Gotzovinu upodobitvami: vsi čuii so namreč predstavljeni tudi z živalmi: s pavom vid, s papigo sluh, s psom voh in okus in z rakom lip, Vseeno pa ne gre za popoln naslon na GOtzovo aleguriju, saj sta Got-20v sluh in okus predstavljena brez živali, druge tri čute pa določata po dve i.ivali. Slikane tapete iz gradu Zaprite torej predstavljajo doslednejšo ikonografsko izpeljavo, saj je natančno izvedena varianta predstavljanja Čutov s kombinacijo človeških figur in živali, ki seje uveljavila že v renesansi.-11 Slikane tapete iz Doma ve danes krasijo eno izmed dvoran ptujskega gradu. hraneč Mesesnel je zapisal, da so na njih upodobljeni "prizori v parkih in v naravi s postavami in skupinami dvorjanov in dvorjank, ki se motno naslanjajo na fantazijo in barvitost francoskih mojstrov Lancreta in Paterja."" Prizori na teh slikanih tapelah so dejansko posneti po Lancretu, vendar so bile za nastanek celote vsaj tako pomembne Gtitzove grafike petih čuiov. Ze Andreja Vriier je v članku o noši poskusila razložiti motiviko dornavskih slikanih tapet in je dve od njih povezala s Štirimi letnimi časi. Domnevala je. da predstavljata alegorijo poletja in jeseni (si, 76 in 75}.37 Sedaj, ko poznamo grafične predloge, lahko trdimo, da je tudi na dornavskih slikanih tapetah upodobljena alegorija petih čutov ¿animivo je, daje slikar dornavskih tapet uporabljal GOtzo-ve grafike petih Cul o v v večji meri, vendar bolj sproščeno od slikarja zapri £ke ga cikla. Tako je na primer možu v igralski noSi - harlekinu1* odvzel raka. ki je bil njegov "atribut" na Gotzovl grafiki tipa, in ga potem lahko prestavil v izvirno kompozicijo sluha," J1 Tudi na slikanih tapetah s kitajskimi prizori iz Novega Celja (.danes last Narodnega muzeja v Ljubljani) je naslikana skupina, ki igra"rihtarjabiii" in se v kompoziciji minimalno razlikuje od jabeljsfcc in zapri Ske upodobitve. Za literaturo, ikonogafijo in likovne iciiive cf, Betekenissen \ an Holttndse genre t'oprs tel fingen un de teventiende eeuw: lot Irring en Vermüük, Rijksmuseum, Amsterdam 1976 (od tod citirano Betekenissen van Holtandse gtnrcvoorMlUngett), p, 158 ss. Ir.k.J; Rai mon d van Marlç: Iconographie de l'A ri profane au Moyen Age et a la Renaissance et la décoration des demeures, ¡.: La vie quotidienne, La Haye 1931. p. 75. " Cf. Noidenfaiki The Five Senses, p. 19, Prvič se ta ikonografska shema pojavi na grafikah nürnberSkega moj s ira Georga Peneza. " V Pokrajinskem muzeju v Ptuju sta še dva cikla slikaiuh lapei iz Dornave; enega, ki je signiran in datiran, je naslikal Heinrich Stadler leta 1749. Ta cikel je stilno soroden obravnavanemu, na obeh pa so biie ko L predloge uporabljene grafike po Lanereiovih sllikah. Cf. Georges Wildenstein: Umcret, Paris 1924; Mary Tavenei Holmes; Nk otas Laueret, 1690-1743, New York 1991. Eden najpomembnejših grafikov, ki so vrezovali Lanerelovc shke, je bil Nicolas de Larmes sin, !l Prance Mesesnel, Dornava pri Ptuju. Konservators ko poročilo. ZUZ. XV m, 1942. pp. 101 - IÜ2. ,T Andreja V riše r. Noša na dornavskih tapetah. Kronika, XXX VI [/3,1989 i od tod citirano Vriier, Noša), p. 264 ss. ViiSer, Nùia, p. 2Ö5. " Harlekin z rakom je naslikan iikII naslikani tapeti Iz Zapric. 137 Nil petih slikanih tapetah so upodnhljeni naslednji prizori: 1 Tapeta je pravzaprav sestavljena iz treh samostojnih kompozicij, čeprav sla zadnji dve povezani. Okus: v stebriščni arhitekturi sedeča trojica; moža pijeta, Jena okuSa sadje {Gütz, Okus; si. 79). Vid: sedeča itn a z daljnogledom in mož (Götz, Vid\ si, 69) opazujeta pod stebrom z doprsnim kipom sedeči par (Lancret, Pomlad). Portret, ki si ga ogledujejo protagonisti ita Gotzovem bakrorezu, jc zamenjal daljnogled, sicer pa gre za dosledno kopiranje (si. Kl),w 2. Voh: mož s pipo in žena, ki s pahljačo iapira dimu pot in možu ponuja sadje 12 polne košare (si 76)." (Laueret: Zrak in Jesen) 3. Voh: na tleh sedeči mož s škatlico v roki" (Götz, Tip; sJ. 74) in galant s Šopkom cvetja, ki ga ponuja ob njem sedeči ženi (Lancret: Zemlja) V ospredju je naslikani? rastlinje z močno poudarjenimi trni {si. 75). Verjetno sta tapeti pod Številkama 2 in 3 prvotno sestavljali celoto, ki je bila razrezana, ko so slikane tapete prenesli v ptujski grad in jih prilagodili novemu prostoru. Na zadnji tapeti s trna vim rastlinjem pa so razvidni tudi v se hi ni k i poudarki. ki jasno kažejo na tip." 4 Tip: tapeta je sestavljena iz dveh delov: na levi je naslikan par, posnet po Gotzovi predlogi; žena ponuja možu posodico (Götz, Voh; si. 66i.14 na desni pa je ohsežna kompozicija v celoti posneta po Lancretovi sliki Mladost, kije del alegorije Štirih starostnih dob Naslikani so objemajoči se pari in lokostrelca (si. 68), S. Sluh: na tleh sedeča žena. mož, ki igra na rog (Götz, Sluh; si. 72), harlekin (Götz, Tip; si 74), par z notami (Götz, Sluh; si. 72} in žena i notnim listom v naročju (Lancrei. Pastoralni koncert) (si. 73). Slikarji fresk in slikanih tapet torej Gotzovih grafik niso kopirali v celoti, temveč so jih reducirali ali pa njihove posamezne dele vključevali v nove kompozicije, Ni naključje, da je pri Slo ravno do povezave s francoskimi predlogami, saj je francosko rokokojsko slikarstvo vplivalo na vso evropsko umetnost tistega časa, Sožitje prek prevodne grafike posredovanih motivov francoskega rokokojske-ga slikarstva in grafične serije južnonemSkega slikarja Gottfrieda liernharda Giit-za pa lahko zaenkrat povsem jasno do kažemo le na dor njivskih slikanih tapetah. Na soroden iiačin (z daljnogledom) ji vid predstavljen e.g. na sliki Direkii H aha. C i. Betekenissen van Hollandse genrevoorsrrltingen, p. 122 s s. 11 Mois p t po. torej motiv, ki zanj slikami dobil neposredne pobude pri GOtzu, je zlasti od 17, stoletja dalje pogosto zamenjal ženo s cvetlico na slikarskih predstavitvah voha (najpomembnejša slika Vesela druičina Jana Stcena). O e.g. lian!. Kauffmann, Die rUnfsinne in der nicdcrlindischcn Malerci dc>, 17. jahrhunderti, Kunstgrschičhthche Studien (H Tintelnot, ed,). Breslau 194? Tudi na Lancretovi sliki mož, po katerem je posneta figura na dornavski tapeti, nima pipe. Ta "atribut " je torej dodan povsem in izključno v skliidu s slikarjev» težnju, da predstavi alegorijo petih čutov, ,3 Z GBlzOve grafike tipaj« posneta Je fig ura mož a, medtem ko je Škatlica, Id jo ima mož v roki. dodana. Cf. opombo 12 in si iko 4 (moi drži v roki Škatlico, v kateri jc lahko dišava, njuhanec ipd.). " Pri tem mislim predvsem na samo rastlinje s trni, ki ga srečamo tudi na Getzovi grafiki tipa. 14 MoSki na GOtzovi grafiki voha ima poudarjeno kretnjo prijema. zato gaje si i kur domu v-skih slikanih tapet lahko vključil v predstavitev tipa.Cf. opombo 12. 138 Te (tako kol lovski cikel iz Zapri c) verjetno dokazujejo, da so slovenske slikane tapete v celoti posnete po grafičnih predlogah. Slikar dornavskih tapei je namreč svoj cikel naslikal tako. da je posamezne figure oziroma kompozicije posnel po Gotzovih grafikah in francoskih grafikah, nastalih po slikah Kicolasa Lancreta, dodal pa je le ikonografsko pomembne detajle (kovanec, pipa, daljnogled}, daje z njimi ustvaril "svojo" alegorijo petih Čutov. Temeljno vprašanje, ki se zastavlja ob slikah z žanrskimi motivi, ali se za navidez povsem neobveznimi dogodki ne skriva kak Sna alegorija, se je pokazalo v našem primeru kot plodno, ob poznavanju GiSfzovih grafik pa tudi za nujno. Poskušali smo dokazati, da je alegorija petih čutov naslikana na freskah v Jabljah iti na slikanih tapetah iz Zapric in Doma ve. Na freskah je ta "kanonska" upodohi-tev izvedena dosledno, medtem ko prihaja na tapetah do manj obvezujoče in nedosledne izpeljave. Slikane tapete so vendarle v prvi vrsti dekorativna umetnost, ki naj s svojo motiviko poživlja prostor in zabava. In v 18. stoletju se pač niso preveč obremenjevali z neskladjem med ikonografskimi zahtevami in logiko prostora. velikostjo in razporeditvijo sten, Kot dokazuje naše gradivo, so neuravnoteženost reSevali v korist potreb prostora. Do danes so se nam ohranile slikane tapete z galantnimi prizori le iz treh gradov na Slovenskem, iz Zapne* Doma ve in Jabelj. Skoraj neverjetno se zdi, da je bila alegorija petih čutov naslikana prav v vseh omenjenih gradovih. Verjetno o izbiri Goizovih grafičnih listov kot glavnega ikonografskega vira ni moglo odločit t pomanjkanje drugih predlog, temveč njihova popularnost. 139 ALLEGORIES OF THE FIVE SENSES IN THE FRESCOES AT THE CASTLE OF JAHLJE AND THE PAINTED WALL COVERINGS FROM DORNAVA AND ZAPRICFJ By Uarhara Murovcc, Trzin Many painters active in Augsburg in the first half of the iStli century gained recognition only after having served for some time as successful engravers. The most important among them - for example. Johann Gcorg liergmiiller, Johann Evangelist Holzcr, Johann Wolfgang Haumgarlner, Mathaus Giinther, Gottfried Bernhard GStz, Johann Esaias Nilson and lohann Elias Ridinger - were thus primarily or at least partially employed as graphic artists.2 In their lifetime Augsburg became the foremost centre of graphic arts in Germany, where the well-known publishers of reproductive prims, such as fingelbrechl. llertel and Pfeffel, always required able draugthsmen and engravers. Hence there was hardly a young artist who did not occasionally work for one of these entrepreneurs.1 In addition, Augsburg was of particular importance for Slovenian painting of the period, as at least two leading local artists, Franc; JelovSek (1 llouscheg, Jellouscheg) and Valentin Met linger, had their works reproduced there. At the same time, prints by the best known representatives of the "Augsburg Rococo", provided models for many contemporary Slovenian painters. The hunting scenes on the painted wall coverings from ihe Castle of Za price (Steinbiichel),4 lor example, were copied from the 1 The article is based on ¿1 seminar paper entitled Baroque Painlfd Wall Coverings in Slovenia: On the Graphic Models unit Motifs in the Cycles from the Castles 0/Zap rice, Jablje and Darnava ant! some Related Problems, (Department of the llisttiry of Art, Philosophical Faculty, Ljubljana 1991, advise: Prof. Pr, MilCek Kfimelj), 1 would like 10 express my special graiiiude to Prof, Or, Lev Menace for his encouragement, advice, thought-provoking questions and critical comments, and tola&nu Horvai MA and Marjcta CiglencSki, curators of the museum collections which house the painted wall coverings, and last bul not least I am grateful to Marjana I -ipoglaviek MA-Ly d i a L. De wiel. Au s de m Leben fines Aug sburgcr K up Ters techcrs u nd Verlegc rs: Joharra Esaias Nilson, in: Bayern iffl Kokoko: Aspekte enter Epoch? im Umhruch (Herbert Schindler, ed.). Miinchcn 1989. p. 70. 1 Ibid, 4 Cf. R i d ingcr' s mj ri es GroSst rile rrn Lust m alle rhan d Jo j? en an d Die Furs ten Jaxdlu si, Th c prin is are prese r ved, for example, in the Staailiche G raphisc he Sam inl ung i 11M un i c h. For a survey of Rtdiager's graphic oeuvre cf. Wilhelm 'fhienemano: Ijfben und Wirken d(S itnvergteichlichcn 'I'hirrmtilerx and Kupferslecherx Johann h'iitis Hidingermitdem 141 two series of engravings by J. E. Rjdinger, while the painter uf ihe frescoes in the Castle of Miljana in Croatia appropriated Holzer's prints of the Four Seasons and Four Temperaments? Furthermore. three painted cycles, the two sets of wall cov erings from Zap rice and Domava (Domau), and the frescoes in the Castle of Jablje (Habach), depend on the Five Senses by G. R. Götz. Gottfried Bernhard Gütz (Goetz, Güz)* bom in 1708 in Velehrad in Moravia, was first apprenticed to Fran? G. J. Eckstein in Brno (Briinn), Around 1730 he came to Augsburg, where he was a pupil of Johann Georg Bergmüller.1 His teacher's influence is evident primarily in the young artist's figure style. Götz hccamc better known only after 1739, when he was commissioned by Christian Georg Kdpf to paint the frescoes in the lattcr's house in Philippine-Welsen Strasse in Augiburg. His most important work is the painted ceil ing of the pilgrimage church at Birnau executed between 1749 and 1750. Together with the Klauber hrothers. Gottfried Bernhard Götz established a publishing house for engravings only in 1737 However, it is probable that his series of the Five Senses predates its foundation since in the lower right corner the first engraving of this cycle bears the inscription JA. Pfeffel excud. A V, (pi. 69).B Each of the Five Senses is labelled in Latin on the base and supplemented by explanatory verses in French and German. The "genre scene" in the centre is surrounded by animals, herms and other objects invested with symbolic meaning, which were for centuries more or less habitually associated with ihe Five Senses (pis. 66. 69, 72. 74 and 79). ausführlichen Verzeichnis seiner Kupferstiche, Schwarzkunstblülter und der von ihm himerlassenen grossen Sammlung von Hatidteichnungen, Leipzig 1856 (Thienemann), The hunting cycle from Zaprice (today in the National Museum in Ljubljana) depends on the following prints by Ridinger: Thiencmann Nos. 1 - 3,25,27,34 and 37, ' The en g rav i n gs are kept e . at t he g raphic cab i n c t i n A u gs b urg. For re prod uction s see: Jürgen Rapp, J, Hölzer fecit sub Directions Domini J. G. Bergmillcr, Bruckmann Pantheon. XLVIII, 1990, pp. 90-91.The frescoes ot Mdjann, recently aliributed to Anton LerchInger (ef. Anita Ccvt, Joief Anton Lercliinger, Likovna t neiklopedijaJiif;iis!avijt', II. Zagreb 19 87, p. 187), comprise all the Four Season s and two of the Temperam en ts (th e S an g u ine and the Ch o leric). All the seen es h ave bee n acc Lira le I y copied fri >m Ho !zer' s engravings, " Ulrich Tfiieme - Felm Becken Allgemeine.\ Lexikon derbildenden Künstler, XiV, Lcip/ij; 1921, pp. 319-320; G. K. Naglcr: Neue.-: allgemeine,': Kiinstler-Lexicon, V. München ! 837, pp. 259-260; Eduard Isphordingr Gottfried Bernhard Göi ¡70R - ¡774: Ölgemälde und Zeichnungen. Wcißenhom 1982; Rudolf Wild moser. Gottfried Bernhard Goz (1708 - 1774) als ausführender Kupfersiecher. Untersuchung und Katalog der Werke, Jahrbuch des Vereins fiir Augsburger Btstumgeschlchte e. V., XVIII, 1984, pp. 257-340. XIX, 1985. pp. 140-296 f Wildmoser. Göz)_ * At least twodo/.en more or less Important 18th century painters were cither trained in Uergmiiller's workshop nr counted among his piipil.s at ihe Augsburg Art Academy, of which he became dean in ] 730. Cf. Aluis J. Weichsigarttier, Der Akademie Direktor und sein Compagnon: Ein Kapitel Augsburger Rokokomalerd um Bergmüllerund Kol/er, in Bayern int Hokokn: Aspekte einer Epoche im Umbruch (Herbert Schindler, ed.), München 1989, p. 20, " Cf. Wi Id moser, Güz.p 191. He dated Göt r' s a 11 egoTy Cft. 17 35. 142 As mi ted above Giiiz's cycle of the Five Senses is clearly echoed in three 18th century painted cycles in Slovenia, It was, needless to say, identification of this graphic model that enabled us to estahlish also the iconography of the frescoes in the Castle of Jablje and of the cycles of painted wall coverings from Zaprice and Dornava. In the mid I Sth century the Castle of Jablje was renovated by the Barons JarteziC (Janneshitsch), They commissioned new painted decorations for the rooms used on formal occasions, which included among other chambers also a polygonal dining room in the east tower,' The frescoes beneath the windows form a self-contained unit: the Rococo cartouches frame genre scenes representing the Five Senses. These frescoes are badly damaged, yet the following scenes are still recognizable:1" Sight: Two women and a man in a landscape are looking at a painted portrait" (pi. 70; cl" Gdtz pi. 69). Hearing: Shepherds playing horn and bagpipes (pi. 64: the pictorial source remains unknown). Smell: A seated woman is smelling a flower and a putto is pointing to a small vessel (pi. 67; cl". Gcitz, pi. 66).11 Instead of the naked child GotzTs engraving shows additional figures of a man and a woman. Taste: A man holding a glass in his raised hand and a woman tasting fruit seated at a tabic enjoy the feast (pi. 80: cf. Gotz, pi. 79). Touch: A dancing couple is shown in the foreground (the graphic model is unknown). In the background on the left another young couple is embracing, while on the right there is a "portal with two kissing doves" "(pi - 65; cf. Gotz, pi, 74). * The frescoes, which dare from 1745 as well as the contemporary painted wall coverings (now in the National Museum in Ljubljana) were discussed in Slovenian art historical literature as a work of Franc JelovSck. Cf. e,g, Siane Mikui, SlogoYiu ru/voj umetnosti Franca llov&ka (17(X) - 1764), Dont in svel, LI I, 1942, p, '275. The wall coverings were presumably painted in JelovSek's workshop, 14 They were described by France Stele: Politiini akrajKamnik? Umernosina topografski opis, Ljubljana 102!) (Stele: Kumnik), pp. 444-446, 11 According lo Stclfe, 'one of the women is looking at herself it! a mirror" (Stelfc: Kamnik, p, 446j. From the very beginning a mirror was a recurrent symbol of Sight, which was later replaced by a woman looking at herself in ihe mirror. Cf. Carl Nordcnfulk, The Five Senses in Late Medieval and Renaissance At\.Jriurnalof the Warburg and CounauU Institutes, XLVlll, 1085 (Nordenfalk), p. 2 ss. Nevertheless, the habitual mirror has he en left out from Gtiiz's print - where the verses Quand je re. garde hien, cotntft ilfaul„ cf portrait./ Mon coeur est plein d'amour... clearly state that the group of people is looking at a painted portrait - as well as from other paintings in Slovenia discussed in this article. 15 }■ ranee Stelfe (Stele; /iflrtWtW, p. 446) described the second motif as "Amor at the open jewel casket". It is not clear what is this vessel's or casket's intended purpose. This segment of the fresco w;is derived from a couple on Oiitz's print, where the seated woman is likewise holding the casket. The gesture of the man is difficult to read, he may want to take a pinch of snuff or he may be putting spices into the box. 15 Stele: Kamnik, p. 446. Today only the portal can still he seen on the spot. 143 Jelovsek referred to Götz's engravings at leasi in four scene;*, But even where he followed his models more freely, he consciously resorted to iconographicaliy well established motifs. The musicians, understandably always associated with music und with hearing, constituted a standard element of the allegory of Hear ing.,J The painted wail coverings from /.apriec and Dornavu arc i tonographies! ly less consistent, yet it is evklem that in this case as well the painters were lully conversant with the content of their graphic models and they were actually commissioned to represent allegories of the Five Senses. Particularly complex and by and large still unresolved is the history of the Zaprice series, which was executed by the same workshop as the huming series after Ridinger mentioned above.11 Today both cycles are m the National Museum in Ljubljana, but they were still in Zaprice in the 1920s when they were photographed by France Stele who listed them in his "topography".1* Lven then some of these wall coverings were cut into parts and fastened to the walls without any logic. The provenance of both scries remains an open question. There are two possible explanations; the painted wall coverings dating from the mid 18th centu ry were either eul up utid adapted to the redecorated rooms in the second half of the century or they originally adorned a room in some other castle and were only later transferred to Zaprice.17 The allegories of the Five Senses from Zaprice originally entailed the following scenes:1* M 1ms probable that for the most part in this cycle Jcloviek made frequent use of graphic models. Single figures and scenes in the painted wall coverings, which originally belonged to the decoration of the same room, depend on the works oT Nicolas Lytic ret. the French pai liter of fetes gala n res. His compositions were transmitted to Slovenia through reproductive engravings. Appropriation of figures from die works of French and German artists in the fresco cycle in Jahlje would thus not be an exception (cf, further references to the Dornava painted wall coverings below). Apart from the works of I.an tret tnotheipossible source for the lablje frescoes could have been provided by the available prints after Francois Boucher. IS Stylistic similarity, colour range, identical borders, the chemical composition of tire pigments and Sleli: Kamnik, p. 92, ,u Ibid. 'I'll!! idle gory of Hearing w as depicted on ihree wall coverings, liven if the fiddler (on the wall covering that has not survived) was shown together with the flutist and the singer, the allegory of Hearing was apparently represented twice. As music and dancing were among the most popular themes of the Rococo genre painting, it is likely that the anist, who had 1« adapt [lie size and the number of painted wall coverings to the of the room, used those characteristic motifs to fill in the available wall surfaces. " Stelfc: Kammk, p. 92. 51 In the painted wall coverings with Chinoiseries from Nov o Cc Ij c (tod ay pro pcrty of th e National Museum in Ljubljana), there also comes up a group of people playing the game of hot cockles. For the literature en the iconography of this theme cf, Betekenixsen van lloiamlse genrevoorstelingen mt tip zeventicmlc eeuw: to Lering en Vermaak. Rijks museum, Amsterdam t'J76 {Betekenissen} p. 15Sss. (exhibition catalogue); Raimond van Marie: IcOnographie lie I'Art profane au Mayen-Age t'l a la Renaissance el la decoration t let demeures, 1:1 si vie quotidienne. La Haye 1931, p. 75. 145 more consistently the traditional paradigm of combining human figures and ani mals, the conceptual origins of which reach back to the Renaissance representations of the Five Senses,34 Presently the painted wall coverings from Dornava arc displayed in one of the rooms of the Castle of Ptuj." France Mesesnel remarked that (hey showed "park scenes and natural landscape settings with figures and groups of courtiers which clearly invoked the imaginative and colourful works by the French masters Lancret and Pater."-fi In fact, many scenes in Ihese painted wall coverings were copied after Laueret, but as a whole the cycle is at least as strongly indebted to GÖtz's prints of ihe Five Senses. In lier article on the figures' costumes Andreja VriSer Iried to account for the sujets of the Dornava wall coverings by associating two of them with the Four Seasons. Site assumed lhat ihey represented the allegories of Summer had Autumn (pis, 76 and 75).iT Now that their respective graphic models have been identified it has become evident that ihe painted wall coverings from Dornava represent allegories of the Five Senses. It is interesting to note that the painter or ihe Dornava wall coverings made even more frequent use of Götz's prints than the painter of the Zaprice cycle. However he did not copy them so slavishly. For evample, a man in the actor's costume - presumably a Harlequin^" - does not hold a crab, which had been the attribute of Touch in Götz's print. In Dornava Ihis figure is integrated into the allegory of Hearing}'' The five wall coverings from Dornava contain the following scenes: I. The first consists of three independent compositions, the last two of which are lied together Taste. Three figures sitting at a garden table: two men are drinking while a woman is tasting fruit (cf. Götz, Taste. pi. 79) Sight; A seated woman in the company of a gentleman holding a monocular field glass in her left hand (cf. Götz, Sight, pi, 69). She is watching a couple sitting under a round base topped by a portrait bust (ef, Lancret, Spring), lixcept lor the portrait medallion, which was in Dornava replaced by the field glass, the two figures on the left were copied directly from Götz's engraving of Sight (pi. K1).3" " Cf Nordenfalk. p. 19. This iconngraphic solution occurs for the first time in ihe prints of the Niimberg master Georg Pent:/. 11 In I he Regional Museum at Ptuj I he re are I wu additional series of painted wall coverings from Dornava: one of them, signed and dated by 1 leinrich Stadler, was painted in 1749, This series is stylistically similar to Ihu Cycle discussed in the presenl article. They were both pai n ted aftc r pri n is b ased on Lan« ret, for whose oe u vre see c. g.: Georges Wi len s tc i n: Lancret, Paris 1924 and Mary Tavencr Holmes: Meteor ¡Mnrret, 1690 - 1743, New York 1991. Jt France Mesesnel, Dornavii pri 1'tuju, KoilMrvatorsko poroCilo, ZUZf XV111, 1942, pp. 101*102, " Andreja Vriier, Noianadornavskih tapetah. Krotdka, XXXVH/3,1989 (VriSer). p, 264 St. " VriSer, p. 265. "The Harlequin with a crab appears also in the painted wall covering from Zapricc. w Sight was represented in a similar way (i.e. with a field glass), for example, by Dirck Hals. Cf. Betekenissen, p. 122 ss. 146 2. Smell: A man with a pipe accompanied by a woman fending off the smoke wilh her fan. She is offering him fruit from a basket (cf. Laneret: Air and Autumn)', (pi 76>.31 3. Smell: A man sitting on the ground holds a small casket in his left hand" (cf. Hotz, Touch, pi 74): to the right a gallant is offering a bunch of flowers to a sealed woman (cf, Lancret: Earth). In the foreground there arc thorny plants (pi, 75). In all probability the wall coverings Nos. 2 and 3 originally belonged to a single composition which was cut up at a later stage when the wall coverings were taken to the Castle of Ptuj (Peltau) and adjusted to ihe new setting. The wall co ve ri ng i ha t s ho ws the th nrny pla n t s is c learly indicative of the allegory of TöuchP 4. Touch: This wall covering consists of two separate compositional units. On the left there is a couple copied after Götz's print of Smell showing a woman offering a small vessel to a man (cf, Göll, Smell; pi. 66)." '¡"he large composition on the right which comprises three pairs of lovers and two archers was appropriated from Lancret's picture Youth, that forms part of his allegorical cyclc The Four Ages of Man (pi. 68), 5. Hearing; The composition comprises a woman silting on the ground, a horn player (cf, Gütz, Hearing; pi. 72), a Harlequin (cf. Götz, Touch; pi, 74), a singing couple (cf. Götz, Hearing; pi. 72) and a woman with a sheet of music score in her lap (Lancrcl. ,4 Concert in the Open); (pi. 73). Our investigation has made clear that the painters responsible for the frescoes at Jahlje and for the wall coverings from Zaprice and IJornava never copied Götz's prints integrally. They either substantially simplified the complex structure of his inventions or merely singled out individual figure types in order to reapply them to novel arrangements. Given the leading role of France and its Rococo painting in the 18th century Europe as a whole it is not surprising tu see that borrowings from the German prints were occasionally merged with additional source material of French origin. We were in position to prove a symbiosis of French Rococo repertoire, transmitted through reproduclivc engravings, with derivations from 11 Bspecially from the 17th century onward, the man wilh the pipe, that is, a motif ¡his painter did not borrow directly from G6tz, was frequently included into representations of Smell instead of the woman with a flower (the most important example is The IVay You Hear It, h the Way You Sing It by Jan Si ten). Cf. e. g, Hans Kaufmann. Die Fiinf Sinnc inder niedcrlandischcn Malcrci des 17. Jahrhunderts, Kunstgeschichtliche Studieri (Hans Tintelnot, ed.), Brcsluii 1943. Notably, the man who is in the Dormiva cycle holding a pipe in his hand lacks this attribute in the painling by Lanerct from which he was derived. The pipe was therefore consciously added by the painter as another significant deiail alluding to one of the Five Senses. 11 Only ihc posture of this man has been copied from GBtz's prim of Touch while the casket in his hand is an addition. Cf. Note 12 and pi. 67 (the casket may contain Spices, snuff or something else), 11 The thurny plants can be seen also in Gotz's print representing Touch. 11 Gotz's engraving Stresses ihis man's gesture of holding, ll is for this reuon that the painter of the Dornava painted wall coverings could reuse the same figure in his representation of Touch. Cf- Nole 12, 147 the prints by the Augsburg painter Gottfried Hernhard Giiu at least for the wall coverings from Dornava. Our analysis of this cycle and of the series of hunting scenes from Zaprice strongly suggests that by and large painted wall coverings in Slovenia were derived from identifiable graphic models. As evidenced by ihc matching single motifs and figure groupings the author of the Dornava cycle made frequent use of Gdtz's prints in combination with French reproductive engravings after Lancret, Nevertheless, he often added iconographically significant details (e.g. a com, the pipe and the field glass) and thus in a way "created" his own representations of the Five Senses. One of ihe primary objectives of this paper has been to argue that the three painted cycles formerly believed to depict simple and casual genre sccnes were originally conceived as series of allegories with clearly defined meaning and pur pose. Given their indebtedness to GOtx'j set of prints there can be now hardly any doubt that the five frcscoes at Jablje and the wall coverings from Zaprice and Dornava were meant to represent the Five Senses, The frescoes seem to conform well with the established iconographic paradigms for such allegories while, on the other hand, Ihc "canonical structure" seems lu have lousened in the ihemati-cally Jess consistent sets of painted wall coverings. The latter belong, after all. to the category of "decorative art", the primary function of which is 10 enliven an aristocratic dwelling and entertain the eyes of the beholder. Moreover, it seems that the I Sih century public did not always pay ¡mention to minor iconographic inconsistencies which were occasionally necessitated by the available space and disposition of the walls. Accordingly our material implies that painted wall coverings were often adjusted to the given architectural setting at the expense of iconographic consistency. Remarkably, all three remaining sets of Jfith cemury wall coverings from Slovenian castles originally represented allegories of the Five Senses, But it seems nevertheless unlikely that Gotz's prints were used as models only for the lack of any alternative sources. Rather the reason for the repeated use of these engravings must have been their popularity among the local artists and patrons alike. 25