26|1  2021 ACTA HISTORIAE ARTIS SLOVENICA  26|1  2021 Jože Plečnik: načrt za cerkev sv. Križa v Zagrebu, varianta s stožčasto streho, detajl fasade, © Muzej in galerije mesta Ljubljana ACTA HISTORIAE ARTIS SLOVENICA 26|1  2021 UMETNOSTNOZGODOVINSKI INŠTITUT FRANCETA STELETA ZRC SAZU http://uifs1.zrc-sazu.si 25 � ACTA HISTORIAE ARTIS SLOVENICA Vsebina • Contents Janez Balažic, Fragmentarno ohranjene gotske stenske poslikave na zahodnem panonskem robu • Fragmentarily Preserved Gothic Murals on the Western Edge of Pannonia Mija Oter Gorenčič, Die monastischen und kunsthistorischen Beziehungen zwischen Gaming und den Kartausen im heutigen Slowenien unter besonderer Berücksichtigung der Memoria und der Herrschaftsrepräsentation der Habsburger und der Grafen von Cilli • Redovne in umetnostne povezave med Gamingom in kartuzijami v današnji Sloveniji s posebnim ozirom na memorio in likovno reprezentacijo Habsburžanov in grofov Celjskih Samo Štefanac, Ponovno o koprski Pieta ` • Di nuovo sulla Pieta ` di Capodistria Alessandro Quinzi, Rodbinske ambicije Sigismunda grofa Attems Petzenstein v luči umetnostnih naročil • Le ambizioni familiari del conte Sigismondo Attems Petzenstein alla luce delle committenze artistiche Polona Vidmar, Vorfahr oder König? Zur Rezeption der Porträts des 17. Jahrhunderts unter Franz Josef Fürst Dietrichstein (1767–1854) • Prednik ali kralj? Recepcija portretov iz 17. stoletja v času Franca Jožefa kneza Dietrichsteina (1767–1854) Mateja Maučec, Vizualna propaganda Stadlerjevih ekumenskih prizadevanj v freskah Ivane Kobilce • Visual Propaganda of Stadler’s Ecumenic Project in Frescoes by Ivana Kobilca Vaidas Petrulis, Kaunas – a Baltic Garden City? • Kaunas – baltsko vrtno mesto? Damjan Prelovšek, Plečnikovi načrti za cerkev sv. Križa v Zagrebu • Plečnik’s Plans for the Church of the Holy Cross in Zagreb Martina Malešič, Risbe iz stockholmskih arhivov. Poskus rekonstrukcije švedske izkušnje arhitektov Franceta in Marte Ivanšek • Drawings from the Stockholm Archives. An Attempt to Reconstruct the Swedish Experience of Architects France and Marta Ivanšek AHAS_26_1_ovitek_12.indd 1 AHAS_26_1_ovitek_12.indd 1 12/01/2021 09:24 12/01/2021 09:24 XXXXXXXXXXXXXXXXXX LJUBLJANA 2021 Umetnostnozgodovinski inštitut Franceta Steleta ZRC SAZU France Stele Institute of Art History ZRC SAZU ACTA HISTORIAE ARTIS SLOVENICA 26|1 • 2021 XXXXXXX XXXXXXXXXX Acta historiae artis Slovenica, 26/1, 2021 Znanstvena revija za umetnostno zgodovino / Scholarly Journal for Art History ISSN 1408-0419 (tiskana izdaja / print edition) ISSN 2536-4200 (spletna izdaja / web edition) Izdajatelj / Issued by ZRC SAZU, Umetnostnozgodovinski inštitut Franceta Steleta / ZRC SAZU, France Stele Institute of Art History Založnik / Publisher Založba ZRC Glavna urednica / Editor-in-chief Katarina Mohar Uredniški odbor / Editorial board Renata Komić Marn, Tina Košak, Katarina Mohar, Mija Oter Gorenčič, Blaž Resman, Helena Seražin Mednarodni svetovalni odbor / International advisory board Günter Brucher (Salzburg), Ana María Fernández García (Oviedo), Hellmut Lorenz (Wien), Milan Pelc (Zagreb), Sergio Tavano (Gorizia-Trieste), Barbara Wisch (New Y ork) Lektoriranje / Language editing Oliver Currie, Manuela Dajnko, Andrea Leskovec, Tjaša Plut, Sergio Sozi Prevodi / Translations Ervin Köstler, Martina Malešič, Nika Vaupotič, Alessandro Quinzi, Samo Štefanac, Polona Vidmar Celostni strokovni in jezikovni pregled / Expert and language editing Blaž Resman Oblikovna zasnova in prelom / Design and layout Andrej Furlan Naslov uredništva / Editorial office address Acta historiae artis Slovenica Novi trg 2, p. p. 306, SI -1001 Ljubljana, Slovenija ahas@zrc-sazu.si; https://ojs.zrc-sazu.si/ahas Revija je indeksirana v / Journal is indexed in Scopus, ERIH PLUS, EBSCO Publishing, IBZ, BHA Letna naročnina / Annual subscription: 35 €; Posamezna enojna številka / Single issue: 25 € Letna naročnina za študente in dijake: 25 € Letna naročnina za tujino in ustanove / Annual subscription outside Slovenia, institutions: 48 € Naročila sprejema / For orders contact Založba ZRC Novi trg 2, p. p. 306, SI-1001, Slovenija E-pošta / E-mail: zalozba@zrc-sazu.si AHAS izhaja s podporo Javne agencije za raziskovalno dejavnost Republike Slovenije. AHAS is published with the support of the Slovenian Research Agency. Tisk / Printed by Present d. o. o., Ljubljana Naklada / Print run: 400 © 2021, avtorji in ZRC SAZU / 2021, Authors and ZRC SAZU Besedilo tega dela je na voljo pod pogoji slovenske licence Creative Commons 4.0 CC BY NC ND, ki pa ne velja za slikovno gradivo. Za kakršnokoli nadaljnjo rabo slikovnega gradiva je treba pridobiti dovoljenje imetnika avtorskih pravic, navedenega v poglavju Viri ilustracij. Za avtorske pravice reprodukcij odgovarjajo avtorji objavljenih prispevkov. / The text of this publication is available under the conditions of the Slovenian licence Creative Commons 4.0 CC BY NC ND, which is not valid for the published images. Any further use of images requires permission from the copyright holder, stated in the section Photographic Credits. The copyrights for reproductions are the responsibility of the authors of published papers. Vsebina Contents DISSERTATIONES Janez Balažic Fragmentarno ohranjene gotske stenske poslikave na zahodnem panonskem robu 7 Fragmentarily Preserved Gothic Murals on the Western Edge of Pannonia 28 Mija Oter Gorenčič Die monastischen und kunsthistorischen Beziehungen zwischen Gaming und den Kartausen im heutigen Slowenien unter besonderer Berücksichtigung der Memoria und der Herrschaftsrepräsentation der Habsburger und der Grafen von Cilli 31 Redovne in umetnostne povezave med Gamingom in kartuzijami v današnji Sloveniji s posebnim ozirom na memorio in likovno reprezentacijo Habsburžanov in grofov Celjskih 50 Samo Štefanac Ponovno o koprski Pietà 51 Di nuovo sulla Pietà di Capodistria 63 Alessandro Quinzi Rodbinske ambicije Sigismunda grofa Attems Petzenstein v luči umetnostnih naročil 65 Le ambizioni familiari del conte Sigismondo Attems Petzenstein alla luce delle committenze artistiche 79 Polona Vidmar Vorfahr oder König? Zur Rezeption der Porträts des 17. Jahrhunderts unter Franz Josef Fürst Dietrichstein (1767–1854) 81 Prednik ali kralj? Recepcija portretov iz 17. stoletja v času Franca Jožefa kneza Dietrichsteina (1767–1854) 110 Mateja Maučec Vizualna propaganda Stadlerjevih ekumenskih prizadevanj v freskah Ivane Kobilce 113 Visual Propaganda of Stadler’s Ecumenic Project in Frescoes by Ivana Kobilca 131 Vaidas Petrulis Kaunas – a Baltic Garden City? 133 Kaunas – baltsko vrtno mesto? 149 Damjan Prelovšek Plečnikovi načrti za cerkev sv. Križa v Zagrebu 151 Plečnik’s Plans for the Church of the Holy Cross in Zagreb 165 Martina Malešič Risbe iz stockholmskih arhivov. Poskus rekonstrukcije švedske izkušnje arhitektov Franceta in Marte Ivanšek 167 Drawings from the Stockholm Archives. An Attempt to Reconstruct the Swedish Experience of Architects France and Marta Ivanšek 183 APPARATUS Izvlečki in ključne besede /Abstracts and Keywords 187 Sodelavci / Contributors 193 Viri ilustracij / Photographic Credits 195 DISSERTATIONES 133 DOI: https://doi.org/10.3986/ahas.26.1.07 ACTA HISTORIAE ARTIS SLOVENICA 26|1 ∙ 2021, 133–149 Kaunas – a Baltic Garden City? Vaidas Petrulis From 1919 to 1939 Kaunas was the temporary capital of the newly restored independent Republic of Lithuania. Such a political status gave a huge impetus to the political, economic and cultural life of the city. The architecture of this period has nowadays come to be labelled as the ‘architecture of optimism’, 1 and has become a focal point of academic, political and cultural attention. In 2015 the European Commission recognized ‘Kaunas of 1919–1940’ as a European Heritage Label site. The interwar period is remembered and appreciated today not only for its historical significance, but also for its architectural contribution. When we attempt to define its distinctive features, however, we must also note that Kaunas had many architectural sources of inspiration during the interwar period. Graduates returning to Lithuania from their studies in Italy, Germany, France and other European countries brought with them a wide range of contemporary architectural ideas. The con- cept of the garden suburb was one of the most prominent ideas which influenced the intellectual atmosphere of interwar Kaunas. Ebenezer Howard’s ultimate aim was to advocate “a third alternative in which all the advan- tages of the most energetic and active town life, with all the beauty and delight of the country, may be secured in perfect combination”. 2 The implementation of this, inherently utopian, ambition has taken various forms based on the widely interpreted ideas of the garden city. Urbanist Eugenie L. Birch suggests that Howard’s idea was an inspiration for “at least five generations of American and English planners”. 3 The concept has also been used in different geographical contexts as well. Surprisingly, the title of the first garden city in Europe is associated with the Mežaparks district in Riga which began to develop as early as 1901. 4 Therefore, the cultural and geographical background where the international idea of the garden city was actually manifested, goes beyond the narrative of English and American urban planners and broadens the history of the garden city to include other regions such as East and Central Europe. Clearly, Kaunas is not one of the most representative examples of a garden city like Paris, Brus- sels, Frankfurt am Main or Berlin, where garden suburbs emerged as a versatile tool for citywide 1 Architecture of Optimism. The Kaunas Phenomenon 1918–1940 (ed. Marija Drėmaitė), Vilnius 2018. 2 Ebenezer HOW ARD, Garden Cities of To-Morrow, London 1902, p. 15. 3 Eugenie L. BIRCH, Five Generations of the Garden City. Tracing Howard’s Legacy in Twentieth-Century Residential Planning, From Garden City to Green City. The Legacy of Ebenezer Howard (eds. Kermit Carlyle Parsons, David Schuyler), Baltimore-London 2002 (Center Books on Contemporary Landscape Design), p. 171. 4 Jānis KRASTIŅŠ, Architecture and Urban Development of Art Nouveau – Metropolis Riga, International Review of Sociology/Revue Internationale de Sociologie, 16/2, 2006, p. 397. 134 VAIDAS PETRULIS planning and housing projects. 5 Still, the character of interwar Kaunas derives not only from its blend of historical structures and modern construction. Its natural surroundings and abundant greenery made Kaunas a place where landscape is an important element of the urban environment. While the Old Town had developed on the relatively flat plain at the confluence of the Nemunas and Neris rivers, by the early 20 th century the city was being extended to include the surrounding higher ground, thus incorporating the green slopes and neighbouring woods into the overall urban composition. In terms of urban policy, this took the shape of discussions about garden cities, which officials often presented in the press as a characteristic of modern development and a qualitatively new step towards delivering Kaunas from the disorder that generally plagued Tsarist-era cities. However, these ideas were difficult to implement in urban planning in practice. The English town planner and theorist Peter Hall warns that reflections on garden city in different places of Europe were “subtly, but importantly, different from Howard’s”. 6 Lithuania follows the general ten- dency. On the one hand, many keywords of Lithuanian architectural discourse related to mod- ern urban development, such as ‘hygienic’, ‘cheap and affordable’ housing, ‘easy pay-out terms’ or ‘drowned in the greenery’, are clearly consistent with the international definition of the garden city. Therefore, it seems reasonable to assume that the garden city was one of the most extensively discussed urban concepts which had a major impact on the urban planning of the city. But on the other hand, the relatively small scale of Kaunas was not sufficient to provoke a reaction “against the form the industrial city had taken in the nineteenth century: its filth and disease, its crowding, and its concentration of poverty and inequality”. 7 Moreover, the political situation was far from condu- cive to experiments of a social nature. In any case, Kaunas can be analysed as a specific manifesta- tion of an almost universal urban concept of the time. Short Historical Background Kaunas as a historical city emerged and began to form in a unique landscape space, at the conflu- ence of two rivers, the Nemunas and the Neris. Kaunas Castle, which stood at the confluence, was sited in a strategically important location and provided the impetus for the development of the Old Town area. After the collapse of the Polish-Lithuanian state in 1795, Kaunas came under Russian rule. Urban development accelerated significantly in 1843, when Kaunas became the centre of the newly created governorate. In 1847 a new city plan was approved and a new city with a geometric street network was designed (fig. 1). This plan clearly illustrates how the urban structure of the city of Kaunas developed historically: the old part of the city at the confluence, and the Naujamiestis (New Town) which is located along the Nemunas River and which connects the old city with the more distantly located railway station (on the Saint Petersburg–Warsaw line). In 1879 Kaunas was granted the status of a first-class military fortress on the border of the Russian Empire. From 1882 onwards until the First World War, Kaunas was surrounded by a ring of central defensive fortifications, forts and batteries. Apart from military fortifications, the ad- 5 Kiki KAFKOULA, On Garden-City Lines. Looking into Social Housing Estates of Interwar Europe, Planning Perspectives, 28/2, 2013, p. 172. 6 Peter HALL, Cities of Tomorow. An Intellectual History of Urban Planning and Design Since 1880, Oxford 1988, p. 112. 7 Pierre CLAVEL, Ebenezer HOW ARD and Patric GEDDES, From Garden City to Green City 2002 (n. 3), p. 40. 135 KAUNAS – A BALTIC GARDEN CITY? ministrative buildings of the fortress were built mainly in Kaunas’ New Town. On Nikolaevsky avenue, the imposing Kaunas fortress Sobor (the Russian Orthodox church built for officers of the military fortress) even today remains a dominant feature of the New Town’s skyline. On 16 th February 1918, after the Declaration of Independence by the Council of Lithuania, the historical circumstances demanded a new role for the city of Kaunas. As the Russian army invaded Lithuania on 31 st December 1918, the Lithuanian government and its institutions relocated from Vilnius to Kaunas. The main forces of the Lithuanian Army were deployed in the city. Eventually, Vilnius became part of Poland, and from the beginning of 1919 until October 1939, Kaunas became the main political centre of Lithuania – the capital of the nation. On 4 th April 1919, for the first time in the history of Lithuania, the President of Lithuania was elected in Kaunas. Therefore, the loss of Vilnius provided an important impetus for the development of Kaunas. In 1919 the city was poor, its inhabitants intimidated, and the incoming government had not even found a place to set up home, as there were not enough suitable buildings (fig. 2). A municipal activist, Jonas Kriaučiūnas, recalled the lack of public order in post-World War I Kaunas: “aban- doned government-owned wooden shacks were ransacked and dismantled by hungry and cold 1. The new master plan of Kaunas, occupying the territory of Naujamiestis (New Town), approved by Tsar Nicholas I in 1847, Kauno regioninis valstybės archyvas 2. The streets of Kaunas in early 1920s 136 VAIDAS PETRULIS 3. Map showing the growth of Kaunas territory in the interwar period 4. Map indicating administrative territories in Kaunas 137 KAUNAS – A BALTIC GARDEN CITY? inhabitants. Doors and windows were broken and ripped out, stoves were dismantled, flooring was torn up”. 8 Still, interwar Kaunas was not created in an empty space. This was particularly evident during the first decade of independence, when most of the functional needs of the new capital had to be accommodated in the existing urban fabric. Thus, one of the essential features of Kaunas’ renewal, as well as the challenges it was facing, was the gradual transformation of a tsarist Russian urban structure into a modern city. Two decades of independence changed the face of the city. In particular, the urban area ex- panded significantly with the amalgamation of suburbs (fig. 3), which, among other things, brought a lot of greenery to the city. Along with these changes, the distinct functional nature of different areas of the city became evident. The New Town and Old Town were granted the status of being the historic core of the city. In Žaliakalnis, Panemunė and Aleksotas, the residential function became dominant together with elements of a garden city. Meanwhile, Šančiai and Vilijampolė developed an industrial character (fig. 4). The improvement of engineering infrastructure was also an important component of the city’s development. The introduction of a centralized water supply and sanita- tion system in Kaunas, first begun in 1929, contributed considerably to the modernization of con- struction. Connecting homes to a city-wide communications system was not only technologically significant, but also symbolized Kaunas’ arrival as a modern and clean city, meeting the standards of civilized European countries. Finally, the population of Kaunas increased significantly: in 1923 there were 92 thousand inhabitants, 9 whereas in the last census of 1939 the number had increased to 154 thousand. 10 The Garden City Experiment as an Inspiration Residential architecture offers us perhaps the most authentic perspective on the rhythm and true social condition of a city. Changes in the residential environment in the early 20 th century became one of the central means for promoting modernist ideas and changing the local cultural environ- ment. Moreover, residential architecture indisputably constitutes the most prolific construction sector, providing an insight into the development of a city from a present-day perspective. Interwar Kaunas was no exception: more than twelve thousand construction permits were issued between 1918 and 1940, sixty percent of which were allocated to residential housing. Although the garden city concept is a multidimensional concept of urban planning, a primary concern “was the well-being and housing of an impoverished urban working class”. 11 In Kaunas after the city’s sudden promotion to the status of capital, housing became one of the most impor- tant issues of the city’s development. The 1920s, popularly known as the ‘apartment crisis’ period, became a true golden era for architects and contractors: new constructions brought profits of up to twenty-five percent. 12 Such returns on investment and the high demand for living space led naturally 8 Jonas KRIAUČIŪNAS, Kai įsikūrė Kauno miesto savivaldybė, Lietuvos aidas, 23 (507), 1929, p. 5; Kauno miesto savivaldybės privalomieji įsakymai, Kaunas 1933, p. 6. 9 Lietuvos statistikos metraštis, 1, Kaunas 1927, p. 21. 10 Lietuvos statistikos metraštis, 2, Vilnius 1939, p. 14. 11 Evan D. RICHERT, Mark B. LAPPING, Ebenezer Howard and the Garden City, Journal of the American Planning Association, 64/2, 1998, p. 125. 12 Statybos darbams prasidėjus, Lietuvos aidas, 86 (570), 1929, p. 1. 138 VAIDAS PETRULIS to a search for creative solutions. The garden city had at that time become a particularly attractive concept. By the end of 1920s, even the public was already well aware of the concepts of a garden city. Optimistic news on garden city projects from all around Europe was extensively discussed in the Lithuanian press. The monthly magazine Savivaldybė (Municipality), the official circular of Lithu- anian municipalities, was especially active in promoting this idea. Letchworth and Welwyn were widely presented as convincing examples where Howard’s idea had been implemented in an almost pure form. 13 In addition to the English experience, the development of garden cities in other countries was widely debated in the press, including examples such as Gamla Enskede in Stockholm, 14 Vreewijk in Rotterdam, 15 Suresnes in Paris 16 and many others. Apart from the popular media, garden cities were also an important part of more academic discourse. A new concept for modern housing was first presented in the Lithuanian press by Vla- das Švipas, the only Lithuanian student of the Bauhaus school. His series of articles, which began in 1927, 17 evolved into a comprehensive book, which was published in 1933 under the title Miesto gyvenamieji namai (Urban Residential Homes). His book was among the most influential theoretical works on modern housing in interwar Lithuania. By scrutinizing endeavours to provide cost-effective and rational housing, Vladas Švipas adopts Howard’s position on the need to find a model of hous- ing that combines the strengths of the city and the benefits of countryside and makes it possible at the same time to cure urban and social ills. 18 To overcome urban pollution and noise, and to enable natural living with the enjoyment of sunshine and greenery, Švipas suggested combining a residential house with a garden, which is useful not only to support the household’s economy, but also aestheti- cally pleasing. 19 Discussion of the need for radical change in residential housing development remained one of the most pressing issues of urban development throughout the interwar period. The mayor of Kaunas, Antanas Gravrogkas, commented publicly in 1932 that “the construction of affordable housing in the city is the most acute question after the water supply system”, 20 while the city’s senior construction inspector, Antanas Novickis, stated emphatically in 1939 that such construction was “a national issue of the first order”. 21 The key concepts of the garden city such as the “improvement of the living condi- tions of the poor” 22 or the urban model of satellite cities remained one of the sources of inspiration shaping social as well as planning expectations. In the words of architect Steponas Stulginskis, the construction of privately-owned housing was not just a personal concern, but also a social tool to prevent migration: “when we enable workers to settle in their own, comfortable housing, they will no longer say: ‘My homeland is where I am.’ A 13 Miestai sodai, Darbas, 122, 1936, p. 2. 14 Kova su butų krize Stokholme, Savivaldybė, 10/2, 1932, p. 37. 15 Sodnamiesčio istorija, Savivaldybė, 7/12, 1929, p. 15. 16 Miestas-sodas Suresnes prie Paryžiaus, Savivaldybė, 16/2, 1938, p. 63. 17 Vladas ŠVIPAS, Architektūros reikalu, Kultūra, 5/7–8, 1927, pp. 329–334; Vladas ŠVIPAS, Menas ir technika, Kultūra, 6/7–8, 1928, pp. 334–337; Vladas ŠVIPAS, Butas egzistencijos minimumui, Naujas žodis, 5/20–21, 1929, pp. 10–11; and others. 18 Vladas ŠVIPAS, Miesto gyvenamieji namai. Jiems statyti reikalavimai ir jų projektavimas, Kaunas 1933, p. 7 19 ŠVIPAS 1933 (n. 18), pp. 13–16. 20 Pigių butų kolonijas pradės statyti šiemet (iš pasikalbėjimų su Kauno burmistru), Dienos naujienos, 157, 1932, p. 1. 21 Projektas butų krizei pašalinti, Namų savininkas, 10 (60), 1939, p. 2. 22 Simon PARKER, Urban Theory and the Urban Experience Encountering the City, London-New Y ork 2004, p. 56. 139 KAUNAS – A BALTIC GARDEN CITY? small, private home with a small garden will make them more resistant to all sorts of political ‘ag- gression’, divert them away from a tavern life and strengthen the foundation of the family”. 23 The engineer Karolis Reisonas proposed “rebuilding Kaunas in the future through the implementation of the concept of ‘nests’ by concentrating houses in certain locations. /…/ Those places will turn into a garden city”. 24 This clearly resembles Howard’s “planning scenario in which the existing development structure of large cities, medium-sized cities, small cities, and villages would gradually be replaced by the homogeneous network of a ‘social city’, and would consist of individual development units”. 25 The garden city was also an inspirational concept on an institutional level. Jonas Vileišis, the mayor of Kaunas, travelled to Gothenburg in 1923, where the annual conference of the International Federation for Housing and Town Planning was taking place. In Gothenburg, apart from officially representing Lithuania in this notable urban network, the Lietuvai pagražinti draugija (“Society to beautify Lithuania”) “planned to present an exhibition on the urban gardens [of Lithuania]”. 26 Al- though there is no clear evidence yet whether the exhibition was actually held, the very intention to do so testifies to the fact that the garden city in Lithuania was a widely known and appreciated con- cept. A year earlier, together with representatives of 26 other countries, Jonas Vileišis participated in a congress in London, organized by the International Garden Cities & Town Planning Federation. The federation’s annual conferences were “the most important platform for the international exchange of players in the field of planning from the 1920s to the beginning of the Second World War”. 27 Another mayor of Kaunas Antanas Gravrogkas also expressed an interest in the garden city movement and participated in the 5 th Congress of Representatives of International Cities and Towns Associations in London. 28 Practical Applications The development of Kaunas in the early 1920s can be described as a process determined by the urgent needs of everyday urban functioning: the location of state institutions, road and traffic management, public health issues, etc. However, the city board was well aware of the need to expand the territory of the municipality. The first systematic attempts to build the capital date back to 1923, when it was decided to invite Marius Frandsen, an experienced Danish engineer and urban planner, to work on the city plan. With the help of municipal engineer Antanas Jokimas, Frandsen developed a new city plan that combined radial and rectangular street networks (fig. 5). The author himself pointed out that this was a more conceptual sketch, as elementary geodetic measurements were missing. 29 It is no wonder that only one part of this plan was soon implemented – Žaliakalnis, a new residential neighbourhood. 23 Steponas STULGINSKIS, Mintys apie mūrinę Lietuvą, Lietuvos aidas, 536 (3751), 1937, p. 4. 24 Ateities Kaunas: pasikalbėjimas su inžinieriumi K. Reisonu, XX amžius, 67 (225), 1937, p. 3. 25 Konstanze Sylva DOMHARDT, The Garden City Idea in the CIAM Discourse on Urbanism. A Path to Comprehensive Planning, Planning Perspectives, 27/2, 2012, p. 175 26 Švedų Geteborgo miesto 300 metų sukaktuvės, Lietuva, 101 (1218), 1923, p. 2. 27 DOMHARDT 2012 (n. 25), p. 174. 28 Burmistro inž. A. Gravrogko įspūdžiai iš Anglijos, Lietuvos aidas, 133 (1508), 1932, p. 5. 29 Paulius Tautvydas LAURINAITIS, Nacionalinės moderniosios urbanistikos mokyklos formavimasis Pirmojoje Lietuvos respublikoje (1918–1940), Kaunas 2020 (doctoral dissertation), p. 68. 140 VAIDAS PETRULIS The decision of Kaunas City Municipality to cooperate with Frandsen was partly determined by the idea of developing different parts of the city on the principles of the garden city. In 1922 the drafting of the city plan was also negotiated with Ewart Gladstone Culpin, a prominent British urban planner and supporter of garden city concept. 30 It was even agreed that the architect “would 30 Obituaries. Ewart Gladstone Culpin, Journal of the Royal Institute of British Architects, 13 January 1947, p. 151. 5. Marius Frandsen, Antanas Jokimas: Planning proposal for the city of Kaunas, 1923, Lietuvos centrinis valstybės archyvas 141 KAUNAS – A BALTIC GARDEN CITY? stay in Kaunas for a few days to get acquainted with the situation in Kaunas”. 31 Despite the lack of information on his visit, the very fact of his invitation confirms the willingness of the city mu- nicipality to embrace the concept of the garden city. These ideas of urban development were most pronounced in the areas of Žaliakalnis and Panemunė. The location of the Žaliakalnis was favour- able because its proximity to Ąžuolynas (Oak Park) (fig. 6). Antanas Jokimas suggested that “such a block of villas would be a natural extension of the park”. 32 And indeed, the oaks allow the special 31 Kauno regioninis valstybės archyvas, Fond 219, Series 1, File 179, Item 43, The protocols of the Kaunas City Board meetings, 1922. 32 Atanas JOKIMAS, Apie Kauno miesto planą, Savivaldybė, 2/8–9, 1924, p. 7. 6. Marius Frandsen, Antanas Jokimas: Master plan for Naujamiestis and Žaliakalnis, 1923 7. Eduaras Peyeris: Panemunė housing project, 1921 142 VAIDAS PETRULIS character of the landscape to be expressed in the neighbourhood. Panemunė was located near the Nemunas river and surrounded by a pine forest. For the development of Panemunė, a separate de- velopment plan was prepared in 1921, the curved streets of which are again close to the ideology of the garden city (fig. 7). This project for a workers’ colony was not implemented. There are numerous realisations of and variations on the garden city concept which represent multiple aspects of urban development, though they usually share a common interpretation of the garden city as a “small town with a low density of small houses with yards and carefully planned, often tree lined streets, plazas and other public spaces”, which offer “clean water, greenery and fresh air, good living conditions, low construction costs and affordable rents”. 33 Žaliakalnis and Panemunė exemplify many important aspects of such planning. First of all, according to urban regulations, these areas were categorized as “open development districts in which buildings had to be constructed as free-standing structures set back from all property lines”, 34 thereby creating a garden-type development. This requirement was followed from the start of the area’s development, ensuring also a low density of construction. Thus, to this day, development plans have focused on the characteristic environment of residential buildings surrounded by greenery (fig. 8). However, the origins of the garden-city experiment are primarily social – “neither its spiritual father, Ebenezer Howard, nor its advocates interpreted the garden city as merely an aesthetic com- bination of single-family homes with gardens”. 35 Much of Howard’s book deals specifically with economic and social relations. Architectural or urban issues can be understood here as secondary, as an instrument for realizing social ambitions. The garden city primarily meant seeking to solve the long-standing problems of the industrial megalopolis. Like other utopians of late 19 th century, Howard “associated poor living conditions with landlordism, and coupled it with notions of an idealized rural past in which community had flourished”. 36 Therefore, Howard is, according to 33 Thorbjörn ANDERSSON, The Garden City, Södra Ängby. Modernism, Architecture, Landscape, Stockholm 2015, p. 73. 34 Kauno miesto savivaldybės privalomieji įsakymai, Kaunas 1933, p. 6. 35 DOMHARDT 2012 (n. 25), p. 180. 36 Alan MARCH, Democratic Dilemmas, Planning and Ebenezer Howard’ s Garden City, Planning Perspectives, 19/4, 2004, p. 410. 8. Housing in Panemunė 143 KAUNAS – A BALTIC GARDEN CITY? Stephen Ward, a “non-Marxist Utopian socialist, looking to achieve socialism without the need for class conflict”. 37 Despite the clear goal of creating a low-rise town with green areas and municipal land owner- ship in Žaliakalnis (fig. 9), social aspects were far from being the primary motive for the develop- ment of Žaliakalnis or Panemunė districts. The social motivation rather involved the “Lithuaniani- zation of the city by increasing the economic capacity of Lithuanian craftsmen and officials”. 38 Even though the Lithuanian press is full of reflections on the economic mechanisms aimed at ensuring the provision of affordable housing for workers, this was more a theoretical discussion. Meanwhile, Howard and many of his later followers recommended “setting up mechanisms for raising loans and running low-profit building societies”. 39 From a social perspective, Kaunas resembles the garden city of Södra Ängby in Stokholm, which “was not an example of sweet equity in home ownership, where the working class could afford to and had the opportunity to own their homes by contribut- ing their labour in lieu of a down payment”. 40 Issues of social housing were publicly discussed right up until the end of 1930s. The Kaunas City Municipality had even prepared a project for a workers’ settlement (fig. 10). However, only the housing complex of the Food factory workers’ houses was 37 Stephen Victor W ARD, Planning and Urban Change, London-New Delhi 2004, p. 21. 38 Kazimieras KRIŠČIUKAITIS, Lietuvos miestų bei miestelių atstatymas, Alguvos baras, 3/7, 1948, p. 14. 39 KAFKOULA 2013 (n. 5), p. 185. 40 ANDERSSON 2015 (n. 33), p. 75. 9. Map of plots in Žaliakalnis, 1929, Lietuvos centrinis valstybės archyvas (red and blue colours indicate rental plots owned by Kaunas Municipality) 144 VAIDAS PETRULIS 11. Kazimieras Laukys-Laukaitis: Workers’ colony project of the Maistas joint-stock company, 1938, Lietuvos centrinis valstybės archyvas 10. Stasys Kudokas: Workers’ settlement project in Kaunas, 1936, Lietuvos centrinis valstybės archyvas 145 KAUNAS – A BALTIC GARDEN CITY? implemented, though only in part. The cornerstones of the project were utilitarian gardens, and they were directly associated with the idea of the garden city (figs. 11–12). 41 Ebenezer Howard claimed that “town and country must be married, and out of this joyous un- ion will spring a new hope, a new life, a new civilization”. 42 Among the most important privileges associated with the village were fresh air and greenery. It should be noted that it was precisely these qualities in Kaunas which were considered important indicators of the modernization of the city and the rising quality of the living environment, mainly because greenery was a natural element of Lithuanian urban surroundings. It was common to assume that “our cities are poor, do not have enough funds to create magnificent parks and majestic boulevards; but they are endowed by nature with beautiful, close surroundings; only care must be taken to ensure that these natural resources are not destroyed or damaged as cities expand, and that, over time, they can be untouched for in- corporation into cities”. 43 One of the most important forms of using greenery in an urban environment was the organic interaction between the garden and the dwelling house. On the one hand, tradition and the Lithu- anian character required that people’s places of residence were richly decorated with greenery. This testifies to the enduring identification of Kaunas’ new residents with their agricultural past. On the other hand, it reflects a wider discussion on the role of greenery in the modern city. Among publicly known theoreticians at that time in Lithuania featured the German landscape designer Leberecht Migge, who understood the development of modern housing as inseparable from greenery: “lots of small gardens – one for each family”. 44 Migge believed that these small gardens should be brought into a systematic and utilitarian relationship with architecture which meets the “human needs, both physical and psychological”. 45 41 Miestai-sodai, Sveikata ir darbas, 4/10, 1937, p. 393. 42 HOW ARD 1902 (n. 2), p. 18. 43 Miestų gyventojų laisvalaikis ir sveikata, Savivaldybė, 17/7, 1939, p. 195. 44 Reakcija prieš miestus, Savivaldybė, 8/5, 1930, p. 8. 45 David HANEY , ”No House Building without Garden Building!” (”Kein Hausbau Ohne Landbau!”). The Modern Landscapes of Leberecht Migge, Journal of Architectural Education, 54/3, 2001, p. 156. 12. Kazimieras Laukys- Laukaitis: Workers’ colony of the Maistas joint-stock company, 1939 146 VAIDAS PETRULIS Such an “emphasis on the utilitarian garden as the symbol of the ‘new’ garden culture was of course intended as a move away from the picturesque or romantic towards the embrace of functional expression”. 46 Some Lithuanian architects and intellectuals also believed in the possibility of a pro- gressive blending of the natural environment and modernization rather than a regressive return to peasant origins. According to Mstislavas Dobužinskis, a well-known artist of the time, “harmony with the natural environment, even though it might seem a quite lyrical and even sentimental wish, is perhaps the only real path to national identity”. 47 Thus, although interpreted in their own way, ideas associated with the garden city concepts stimulated the imagination of Lithuanian architects and politicians of the interwar period. While Panemunė adapts to the course of the river and follows the principles of linear ur- ban planning, part of Žaliakalnis’ territory is characterized by an expressive structure of crescents (streets designed in semicircles; fig. 13). The area comprising Gėlių rato (Flower Crescent) and Minties rato (Ideas Crescent) is the most authentically executed section of Frandsen’s original city plan. The district was designed as a pentagon with two interior concentric ring roads, from which six streets radiate outwards. This is obviously parallel to Ebenezer Howard’s circular plan with “six boulevards /…/ dividing the area into six equal parts”. 48 Howard’s vision proposes a circular space in the centre with public buildings. Antanas Jokimas, one of the authors of the Kaunas plan, describes a very similar idea of having the Presidential Palace, Parliament and Supreme Court in 46 HANEY 2001 (n. 45), p. 152. 47 Mstislavas DOBUŽINSKIS, Dar dėl lietuviško stiliaus, Naujoji romuva, 7/37–38, 1938, p. 699. 48 HOW ARD 1902 (n. 2), p. 22. 13. Aerial view of Kaunas (Žaliakalnis), 1939, Kauno regioninis valstybės archyvas 147 KAUNAS – A BALTIC GARDEN CITY? the centre of the Žaliakalnis circle: “there should be a monumental palace at the end of the square /…/ From that centre, beautiful alleys will radiate outwards in various directions and will provide the perfect frame for the government quarter”. 49 Although Howard’s vision of the garden-city is typically associated “with cottage-style hous- ing built on ‘garden suburb’ lines”, 50 the residential houses of Panemunė and Žaliakalnis of this period are characterized by a diversity of styles and materials. Even the areas built in a relatively short time, were not designed according to singular architectural idea or style (fig. 14). Among the luxury villas, for example, one can find simple wooden blocks of four to six apartments that reflect the social ideas of existenzminimum. Retrospective styles (mostly Neo-Baroque or Neo-Classical), the Lithuanian national style (fig. 15) as well as the modernist language of architecture began to appear in the years 1932–1939. 49 JOKIMAS 1924 (n. 32), p. 7. 50 Dennis HARDY, From Garden Cities to New Towns. Compaigning for Town and Country Planning 1899–1946, London-New Y ork-Tokyo-Melbourne-Madras 1991, p. 11. 14. Streets of Žaliakalnis 15. Streets of Žaliakalnis 148 VAIDAS PETRULIS Low rising houses with “a nice little garden” 51 were another universal idea of garden city. In terms of typology, the residential housing in Žaliakalnis and Panemunė can be divided into three dominant types. The first type comprises single-family cottages and urban villas. The villas were one- or two-storied residences made of brick or wood. Brick homes were frequently adorned with details such as columns and pilasters, arched windows, cornices and expressive entrances. Private villas were meant for single families, but because of a housing shortage they usually had in addition a small flat for rent. Second, small multi-family residential buildings began to be built in this area around 1930, consisting largely of brick or wooden two-storied buildings with up to six apartments. Each floor had two apartments of different sizes. One floor, usually the first, was often reserved for the owner’s flat. And finally, there were tenement blocks. These were wooden two-storied buildings with four to eight inexpensive rental units per building usually built as affordable housing. Their exterior design was extremely simple and rational; a central staircase was flanked by flats on either side. Such homes were also constructed by the Kaunas municipal government to tackle the hous- ing crisis. Žaliakalnis was therefore inhabited by residents of different social backgrounds: wooden homes financed from Kaunas municipal funds were rented to poorer residents, while villas were constructed by public officials, lawyers, and artists. • ․ • Kaunas has never been treated as a classical example of the garden city. However, judging by local discussions of urban issues, it is evident that the urban development of 1920s and 1930s was largely inspired by the garden city movement. Examples from many countries, including Germany, Sweden, or France, have been analysed as possible sources for this inspiration. Moreover, Kaunas was endowed with a green environment and possessed land in abundance, which allowed extensive construction. The predominantly poor residents, meanwhile, did not build new areas intensively, thus retaining the city’s green character. Therefore, although Lithuania did not have sufficient fi - nancial resources to develop the social aspect of the garden city, Kaunas residents faced the chal- lenge of conceptualizing modern urbanism, and the garden city became the idea that enabled pro- gress and convergence with the modern western world. 51 HOW ARD 1902 (n. 2), p. 54. 149 KAUNAS – A BALTIC GARDEN CITY? Kaunas – baltsko vrtno mesto? Povzetek Med letoma 1919 in 1939 je bil Kaunas začasna prestolnica na novo vzpostavljene neodvisne Republike Litve. Ta politični status je pomenil veliko spodbudo za politično, ekonomsko in kulturno življenje mesta. Arhitektura tega obdobja, za katero se je danes uveljavila oznaka »arhitektura optimizma«, priča o številnih virih inspiracije. Diplomanti, ki so se vračali v Litvo po študiju v Italiji, Nemčiji, Franciji in drugih evropskih državah, so prinašali s seboj različne arhitekturne usmeritve. Med živahnimi idejami, ki so vplivale na intelektualno atmosfero medvojnega Kaunasa, je bilo tudi »vrtno mesto«. Kaunas sicer ni eden od mednarodno prepoznanih primerov, ki utelešajo ideje Ebenezerja Howar- da, kljub temu pa velik del njegovega značaja med obema vojnama izvira iz novo načrtovanih stano- vanjskih sosesk, v katerih je bilo zelenje pomemben del lokalnega karakterja. Arhitekti, kulturni izo- braženci in politiki so veliko razpravljali o konceptu vrtnega mesta. Številne ključne besede litovskega arhitekturnega diskurza, kot so »higienska«, »poceni in dostopna« stanovanja, »dobri plačilni pogoji« ali »potopljena v zelenje«, se jasno skladajo z mednarodno definicijo vrtnega mesta. Jonas Vileišis, žu- pan Kaunasa, je celo sodeloval na kongresu, ki ga je leta 1922 v Londonu organizirala Mednarodna zveza za načrtovanje zelenih mest (International Garden Cities & Town Planning Federation). Takrat so sklenili povabiti k izdelavi novega mestnega urbanističnega načrta Mariusa Frandsena, izkušenega danskega inženirja in urbanista, ki je pri tem sodeloval z mestnim inženirjem Kaunasa, An- tanasom Jokimasom. Odločitev mestne občine Kaunas, da za načrt angažira Frandsena, je bila deloma sprejeta na podlagi ideje, da bi različne dele mesta razvili po principih vrtnega mesta. Leta 1922 so se o osnutku urbanističnega načrta pogovarjali tudi z Ewartom Gladstonom Culpinom, uglednim britan- skim urbanistom in podpornikom ideje vrtnega mesta. Projekt je bil dokončan leta 1923, uresničen pa je bil samo en njegov del, nova stanovanjska soseska Žaliakalnis. Žaliakalnis je bil skupaj s Panemunė- jem, območjem, ki je postalo del mestnega ozemlja Kaunasa leta 1931, med najvidnejšimi realizacijami idej vrtnega mesta v Litvi. Po urbanističnih predpisih sta bili obe območji kategorizirani kot odprti razvojni okrožji, v katerih so se smele graditi le prostostoječe stavbe, umaknjene od vseh meja zemljišča, s čimer je bila ustvarje- na soseska vrtnega tipa. Ta zahteva je prav tako zagotovila nizko gostoto pozidave. Vendar pa je treba priznati, da kljub očitni podobi podeželske naselbine in občinskemu lastništvu zemlje skrb za delavski razred ni bila temeljno izhodišče za razvoj teh območij. Tu so se naselili prebivalci različnega socialnega porekla: med lesene večstanovanjske hiše, ki jih je za revne prebivalce zgradila občina Kaunas, so se mešale zasebne vile. Čeprav Litva ni imela dovolj finančnih sredstev, da bi lahko razvila družbeni vidik vrtnega mesta, so se arhitekti soočili z izzivom konceptualizacije modernega urbanizma in vrtno mesto je postalo ide- ja, ki je zagotavljala napredek in usmeritev proti modernemu zahodnemu svetu. Kaunas torej priča, da kulturno in geografsko okolje, v katerem se je razvila mednarodna ideja vrtnega mesta, presega domet angleških in ameriških načrtovalcev, in dopolnjuje zgodovino vrtnega mesta s številnimi drugimi regi- jami. APPARATUS 187 ACTA HISTORIAE ARTIS SLOVENICA 25|1 ∙ 2020, 187–192 Izvlečki in ključne besede Abstracts and Keywords Janez Balažic Fragmentarno ohranjene gotske stenske poslikave na zahodnem panonskem robu 1.01 Izvirni znanstveni članek Avtor v prispevku obravnava fragmentarno ohranjene stenske poslikave, pripisane regionalnim slikarskim de- lavnicam, ki so zarisovale t. i. navpično vplivno os po zahodnem panonskem robu. Zbrani primeri navkljub okrnjeni predstavnosti pomembno dopolnjujejo ume- tnostnozgodovinsko podobo umetnostne produkcije tega prostora v času Luksemburžanov. Prispevek kaže na tvorne povezave med pokrovitelji in umetnostnimi delavnicami. Njihovo produkcijo pred sredino 14. sto- letja zaznamuje izzvenevanje visokogotskega linearnega stila, zatem pa ob italijanskih trečentističnih spodbudah »mešani« ali »prehodni« slog tretje in zadnje četrtine 14. stoletja, na vrhuncu češko-dunajske produkcije okoli leta 1400 pa tudi tu zmaga mednarodni gotski slog, ki odzvanja še globoko v 15. stoletje. Ključne besede: fragmenti, gotske poslikave, zahodni panonski rob, Luksemburžani, visokogotski linearni stil, mešani slog, prehodni slog, mednarodni slog Janez Balažic Fragmentarily Preserved Gothic Murals on the Western Edge of Pannonia 1.01 Original scientific article The author discusses the fragmentarily preserved mu- rals attributed to regional painting workshops which exemplify the so-called vertical influence axis on the western edge of Pannonia. Despite their fragmentary condition, the examples discussed make an important contribution to our understanding of the artistic pro- duction in this territory at the time of the House of Luxembourg. The paper explores the productive con- nections between artistic workshops and their patrons. The artistic output of the workshops was characterized by the gradual fading of the high Gothic linear style al- ready before the middle of the 14 th Century, and by a ‘mixed’ or ‘transitional’ style under Italian Trecento in- fluences in the second half of the 14 th Century, whereas at the time of the peak of Czech and Viennese produc- tion around 1400 the international Gothic style prevails and is still discernible well into the 15 th Century. Keywords: fragments, Gothic paintings, western edge of Pannonia, the House of Luxembourg, High Gothic linear style, mixed style, transitional style, international style 188 IZVLEČKI IN KLJUČNE BESEDE / ABSTRACTS AND KEYWORDS Martina Malešič Risbe iz stockholmskih arhivov. Poskus rekonstrukcije švedske izkušnje arhitektov Franceta in Marte Ivanšek 1.01 Izvirni znanstveni članek Arhitekta France in Marta Ivanšek se v slovenski arhi- tekturni zgodovini pogosto omenjata kot »ambasador- ja« švedske kulture, ki sta iz Skandinavije v slovenski prostor prinesla vrsto za napredek stanovanjskega stan- darda ključnih modelov, na primer urbanistično idejo nizko-goste stanovanjske zazidave (naselje Murgle v Ljubljani), skandinavski sistem moderne laboratorij- ske kuhinje (SVEA) ter tečaje Barva in oblika. Švedsko izkušnjo arhitektov Ivanšek omenjajo številni razisko- valci povojne slovenske arhitekture, vendar področje še ni bilo podrobno raziskano in predstavljeno. Prispevek prinaša vpogled v leta, ki sta jih Ivanška preživela v Stockholmu. S pomočjo primarnega gradiva iz stock- holmskih arhivov, lastnih zapisov arhitektov in kore- spondence poskuša rekonstruirati njuno bivanje in delo v Stockholmu. Ključne besede: France Ivanšek, Marta Ivanšek, stano- vanjska gradnja, Švedska, bivanjska kultura, slovenska arhitektura Mateja Maučec Vizualna propaganda Stadlerjevih ekumenskih prizade- vanj v freskah Ivane Kobilce 1.01 Izvirni znanstveni članek Članek se ukvarja z likovnim prispevkom slovenske slikar- ke Ivane Kobilce v sarajevski semeniški cerkvi sv. Cirila in Metoda. Poslikava dela cerkve je bila med prvimi naročili, ki jih je umetnica pridobila v Sarajevu, ter po obsegu tudi nje- no največje delo. Umetnica je poslikala del kupole, severni steni obeh krakov transepta in štiri tonde, dva na pevskem koru ter dva na stranskih emporah. Za freske, ki združu- jejo jezuitsko in ekumensko ikonografijo, je ikonografski program sestavil prvi sarajevski nadškof dr. Josip Stadler, freske pa so priča njegovih neuresničenih cerkveno-poli- tičnih ambicij po združitvi vzhodne in zahodne Cerkve. Ključne besede: ekumenizem, Josip Stadler, stensko slikarstvo, Ivana Kobilca, vizualna propaganda, Bosna in Hercegovina Martina Malešič Drawings from the Stockholm Archives. An Attempt to Reconstruct the Swedish Experience of Architects France and Marta Ivanšek 1.01 Original scientific article Slovene architectural history often mentions the archi- tects France and Marta Ivanšek as ‘ambassadors’ of Swed- ish culture. From Scandinavia they brought a number of models which proved to be crucial for the improvement of housing standards such as the idea of low-rise high-den- sity housing (e.g. the Murgle development in Ljubljana), Scandinavian modern kitchen design (SVEA) and the Barva in Oblika (‘Colour and Form’) courses on the Swed- ish Natural Colour System and its applicatibility in design, architecture and textile industry. Numerous research- ers of post-war Slovenian architecture have mentioned France and Marta Ivanšek’s Swedish experience, but the topic has not yet been researched or presented in detail. This article seeks to provide an insight into the years the architects spent in Stockholm. Based on primary sources from the Stockholm archives, the architects’ own records and correspondence, it reconstructs their stay and work in Stockholm. Keywords: France Ivanšek, Marta Ivanšek, housing, Swe- den, dwelling culture, Slovene architecture Mateja Maučec Visual Propaganda of Stadler’s Ecumenic Project in Frescoes by Ivana Kobilca 1.01 Original scientific article The article deals with the artistic contribution of the Slovene painter Ivana Kobilca in the Sarajevo seminary Church of Sts Cyril and Methodius. The painting of part of the church was among the first commissions that the artist obtained in Sarajevo, and in terms of the scope also her largest work. The artist painted part of the dome, the northern walls of the transept and four tondi, two on the organ loft and two on the side galleries. The iconographic program for the frescoes, which combine Jesuit and ecu- menical iconography, was designed by the first archbish- op of Sarajevo, Dr. Josip Stadler. The frescoes attest to his unrealized ecclesiastical and political ambitions of unify- ing the Eastern and Western Churches. Keywords: ecumenism, Josip Stadler, wall painting, Ivana Kobilca, visual propaganda, Bosnia and Herzegovina 189 IZVLEČKI IN KLJUČNE BESEDE / ABSTRACTS AND KEYWORDS Mija Oter Gorenčič Redovne in umetnostne povezave med Gamingom in kartuzijami v današnji Sloveniji s posebnim ozirom na memorio in likovno reprezentacijo Habsburžanov in grofov Celjskih 1.01 Izvirni znanstveni članek V članku so predstavljene redovne in umetnostne po- vezave kartuzij na Slovenskem s kartuzijo Gaming. Raziskava je pokazala, da je do okrog leta 1500 pote- kala relativno pogosta izmenjava priorjev in menihov med Gamingom in slovenskimi kartuzijami. V večini primerov je šlo za prihode menihov iz Gaminga v slo- venske kartuzije, redkejši pa so bili odhodi iz sloven- skih kartuzij v Gaming. Tudi umetnostnozgodovinska primerjalna in slogovna analiza sta razkrili več doslej še neopaženih povezav. Povezavo razkrivajo tudi posame- zni ujemajoči se kamnoseški znaki. V slovenskih kartu- zijah izstopa umetnostno naročništvo grofov Celjskih. Ti bi se pri likovni reprezentaciji lahko zgledovali prav po načinih, ki so se jih z namenom memorie v Gamingu posluževali Habsburžani. Ključne besede: kartuzijani, kartuzijanska arhitektura, srednji vek, grofje Celjski, Habsburžani, Gaming, Žiče, Jurklošer, Bistra, Pleterje, memoria, likovna reprezenta- cija Vaidas Petrulis Kaunas – baltsko vrtno mesto? 1.01 Izvirni znanstveni članek Med letoma 1919 in 1939, ko je imel Kaunas status za- časne prestolnice Litve, sta krojila arhitekturni značaj njegovega urbanega okolja procesa, ključna za tisti čas – modernizacija in napredek. V dvajsetih letih 20. stoletja je v hitro rastoči prestolnici vladalo veliko pomanjkanje stanovanj, zato so bile stanovanjske stavbe pomemben del gradbene dejavnosti in mestnega programa moder- nizacije skozi celotno medvojno obdobje. Med doku- mente, ki so vplivali na koncept bivalnega okolja, spada urbanistični načrt za Kaunas, ki sta ga leta 1923 zasno- vala danski inženir in urbanist Marius Frandsen in li- tovski arhitekt Antanas Jokimas. Projekt je predvidel razdelitev mesta na različne funkcionalne cone. Eno teh območij – rezidenčni Žaliakalnis – priča, da so bile med najpomembnejšimi urbanističnimi pobudami v ozadju projekta eksperimentalne zamisli Ebenezerja Howarda o vrtnem mestu. Članek s pomočjo zgodovinskih virov Mija Oter Gorenčič Monastic and Artistic Connections between Gaming and the Charterhouses in Present-Day Slovenia with Particular Regard to Memoria and the Visual Representation of the Habsburgs and the Counts of Cilli 1.01 Original scientific article The article presents the monastic and artistic connec- tions between the charterhouses in Slovenia and the Gaming Charterhouse. The research shows that until around 1500 there was a relatively frequent exchange of priors and monks between Gaming and Slovenian charterhouses. In most cases these exchanges related to monks from Gaming coming to Slovenian charterhous- es, while departures from Slovenian charterhouses to Gaming were considerably less frequent. Comparative and stylistic art historical analyses reveal several pre- viously unnoticed connections. The matching mason’s marks also attest to this connection. The artistic patron- age of the Counts of Cilli stands out in the Slovenian charterhouses. In the visual representation they could have imitated the artistic ways used by the Habsburgs for their memoria in Gaming. Keywords: Carthusians, Carthusian architecture, Middle Ages, Counts of Cilli, House of Habsburg, Gaming, Seitz, Gairach, Freudenthal, Pletriach, memoria, visual repre- sentation Vaidas Petrulis Kaunas – a Baltic Garden City? 1.01 Original scientific article From 1919 to 1939, when Kaunas assumed the status of the provisional capital of Lithuania, the architectural character of its urban environment was forged by the processes that were characteristic of that period – mod- ernization and progress. In the 1920s housing was in severely short supply in the rapidly growing capital, so residential buildings were a significant part of construc- tion activity and of the city’s modernization programme throughout the interwar period. Among the documents influencing the concept of living environment was a new master plan for Kaunas developed in 1923 by Dan- ish engineer and urban planner Marius Frandsen and Lithuanian architect Antanas Jokimas. The project pro- posed dividing the city into different functional zones. One of these areas, residential Žaliakalnis, testifies to the fact that the experimental thoughts of Ebenezer Howard’s garden city were among the most important 190 preučuje, kako so Litovci poskušali posvojiti to idejo. S primerjavo teoretičnih prizadevanj in praktičnih apli- kacij eksperimenta vrtnega mesta članek dokazuje, da spada Kaunas med mesta, v katerih je univerzalni kon- cept zelenih predmestij našel plodna tla. Ključne besede: vrtno mesto, zeleno predmestje, mo- dernizem, medvojna Evropa, Litva Damjan Prelovšek Plečnikovi načrti za cerkev sv. Križa v Zagrebu 1.01 Izvirni znanstveni članek Arhitekt Jože Plečnik je za zagrebške frančiškane iz pro- vince sv. Cirila in Metoda naredil več predlogov cerkve sv. Križa s samostanom, ki naj bi postala središče nove župnije istega imena. Prvotni prostor je bil Trg kralja Petra Krešimirja. Ker pa regulacija tega dela mesta še ni bila določena, je moral svoje načrte spremeniti. Gradnjo je preprečil začetek druge svetovne vojne, po njej pa je Plečnik svoj projekt dolge in ozke cerkve (1939) zamen- jal s centralno stavbo (1946–1947), ki povzema zamisli njegove neuresničene sarajevske katedrale sv. Jožefa in sočasnega načrtovanja stavbe slovenskega parlamenta. Intenzivno ukvarjanje s tem naročilom označuje širok razpon tipoloških in ustvarjalnih možnosti. Ključne besede: Jože Plečnik, Dioniz Andrašec, zagreb- ški frančiškani, župnija sv. Križa, sakralna arhitektura, jezuitski samostan v Osijeku, slovenski parlament Alessandro Quinzi Rodbinske ambicije Sigismunda grofa Attems Petzenstein v luči umetnostnih naročil 1.01 Izvirni znanstveni članek Sigismund grof Attems Petzenstein (1708–1758) je sredi 18. stoletja svojo rodbino »povzdignil do take veličine, kakršne ni dosegla v vseh preteklih časih« (G. Guelmi, urban inspirations behind it. Through the lens of the historical sources, the article examines how Lithuanians attempted to adopt this idea. Comparing the theoretical aspirations and the practical applications of the garden city experiment, the article argues that Kaunas is among the cities where the universal concept of green suburbs found fertile ground. Keywords: garden city, green suburbs, modernism, in- terwar Europe, Lithuania Damjan Prelovšek Plečnik’s Plans for the Church of the Holy Cross in Zagreb 1.01 Original scientific article Architect Jože Plečnik prepared several proposals for the church of the Holy Cross and the monastery for the Zagreb Franciscans from the province of Sts Cyril and Methodius, which was to become the centre of the new parish with the same name. The original location for the project was the Square of King Peter Krešimir. However, since the traffic regulation for this part of town had not yet been determined, he had to change his plans. The construction was prevented by the start of World War II, and after it, Plečnik replaced his design for a long and narrow church (1939) with a central building (1946– 1947), which summarises his ideas for the unrealized cathedral of St Joseph in Sarajevo and the concurrent work on the National Assembly Building of Slovenia. The intensive work on this commission is characterized by a wide range of typological and creative possibilities. Keywords: architect Jože Plečnik, Dioniz Andrašec, the Zagreb Franciscans, parish of the Holy Cross, religious architecture, Jesuit monastery in Osijek, National As- sembly Building of Slovenia Alessandro Quinzi The Family Ambitions of Sigismund Attems Petzenstein in the Light of his Art Commissions 1.01 Original scientific article In the mid-18 th Century Count Sigismund Attems Petzen- stein (1708–1758) “raised his family to such greatness as it had not attained in all past times” (G. Guelmi, Storia IZVLEČKI IN KLJUČNE BESEDE / ABSTRACTS AND KEYWORDS 191 Storia genealogico-cronologica degli Attems austriaci, 1783). Na novo pridobljeni ugled je pospremil s po- stavitvijo mestne rezidence na Kornu (1745) in vile v Podgori (1747–1748) ter z obnovo dvorca na Jazbinah (1747). Leta 1750, ob imenovanju brata Karla Mihae- la (1711–1774) za prvega goriškega nadškofa, pa je dal modernizirati pročelje mestne palače. Za gradbene podvige je Sigismund praviloma zaposlil arhitekta Sa- veria Giannija, kar dokazujejo prvič objavljeni podatki iz zapuščinskega inventarja. Slikarsko opremo je naro- čal pri goriških slikarjih (Johann Michael Lichtenreit, Antonio Paroli), le za oltarno sliko družinske kapele v nekdanji cerkvi sv. Frančiška se je obrnil na veronskega umetnika Giambettina Cignarolija. Čeprav Sigismund ni dočakal namestitve slike, se je ravno s tem umet- niškim podvigom vpisal v elitni krog evropskih naroč- nikov Cignarolijevih del. Ključne besede: Sigismund Attems Petzenstein, Karel Mihael Attems Petzenstein, Saverio Gianni, Giambet- tino Cignaroli, Gorica, baročna umetnost, arhitektura, 18. stoletje Samo Štefanac Ponovno o koprski Pietà 1.01 Izvirni znanstveni članek Leseni kip Pietà v koprski stolnici, ki je bil leta 2016 v vandalskem napadu poškodovan, je bil podrobneje ob- ravnavan že leta 2005 in pogojno označen kot beneško delo iz sredine 15. stoletja pod vplivom muranske sli- karske šole. Novejše odkritje kaže, da gre po vsej ver- jetnosti za padovansko delo, prav tako iz sredine 15. stoletja. Doslej namreč ni bil opažen približno sočasni kip Pietà v Piove di Sacco, ki je nedvomno delo iste roke kot koprski in ga lahko povežemo s slikarstvom Squar- cionejevega kroga. Ključne besede: Pietà, kiparstvo 15. stoletja, Koper/Ca- podistria, Piove di Sacco, Padova genealogico-cronologica degli Attems austriaci, 1783). He cemented the newly acquired reputation with the erec- tion of a town residence in Corno Square (1745), a villa in Podgora (Piedimonte, 1747–1748) and the renovation of the mansion at Jazbine (Giasbana, 1747), all in Gorizia. In 1750, when his brother Karl Michael (1711–1774) was ap- pointed the first archbishop of Gorizia, he had the façade of the town palace modernized. As a rule, Sigismund used the architect Saverio Gianni to execute the works, as is ev- idenced by data from the estate inventory now published for the first time. He commissioned paintings from the Gorizian painters Johann Michael Lichtenreit and An- tonio Paroli, whereas for the altar painting of the family chapel in the former church of St Francis he turned to the Veronese artist Giambettino Cignaroli. Although Si- gismund did not live to see the painting hung, it was by means of this artistic commission that he joined the elite circle of Cignaroli’s European clients. Keywords: Sigismund Attems Petzenstein, Karl Michael Attems Petzenstein, Saverio Gianni, Giambettino Cign- aroli, Gorizia, Baroque art, architecture, 18 th Century Samo Štefanac The Koper Pietà Revisited 1.01 Original scientific article The wooden Pietà sculpture in the Koper Cathedral, which was damaged in a vandal attack in 2016, was studied in considerable detail in 2005 and was provi- sionally labelled as a Venetian work from the middle of the 15 th Century influenced by the Murano painting school. The latest findings show that the work most probably originates from Padua, also from the middle of the century. The roughly contemporary sculpture of Pietà in Piove di Sacco, which was undoubtedly made by the same sculptor as the Pietà in Koper and can be related to the painting of the circle of Francesco Squar- cione, had not been noticed until now. Keywords: Pietà, 15 th Century sculpture, Koper/Capo- distria, Piove di Sacco, Padua IZVLEČKI IN KLJUČNE BESEDE / ABSTRACTS AND KEYWORDS 192 Polona Vidmar Prednik ali kralj? Recepcija portretov iz 17. stoletja v času Franca Jožefa kneza Dietrichsteina (1767–1854) 1.01 Izvirni znanstveni članek Prispevek osvetljuje zanimanje Franca Jožefa kneza Dietrichsteina za zgodovino njegove rodbine, ki se je med drugim odrazilo v nakupu izvornega rodbinskega sedeža Dietrichstein na Koroškem leta 1838. Na podla- gi še neobjavljene knezove korespondence z uradniki gospostev Dietrichstein in Gornji Ptuj, ki ju je rodbina podedovala po grofih Lesliejih, je analizirano njegovo iskanje sledi za predniki na Koroškem in Štajerskem, prikazani pa so tudi nakupi predmetov. Predstavljene so knezove težnje, da bi s podedovanimi, kupljenimi in naročenimi portreti poudaril pomen svoje rodbine in prednikov. Kot vzorčni primer recepcije portretov je izbrana serija štirinajstih portretov evropskih vladarjev, ki jo je Jakob grof Leslie v letih od 1669 do 1673 naro- čil za opremo dvorane ptujskega gradu. V inventarjih gradu Gornji Ptuj so od leta 1835 sedem portretirancev in portretirank kljub nedvoumnim rekvizitom, kot so krone, vladarska jabolka in žezla ter kronanjski plašči, prepoznavali kot člane in članice rodbine Leslie. Upo- dobljence je ustrezneje identificiral direktor knežje ga- lerije Franz Kutschera leta 1857, tik preden so jih leta 1860 odpeljali na Dunaj in od tam v grad Frýdlant na Češkem. Prispevek osvetljuje tudi pomen knežjih urad- nikov, zlasti Moritza Seehanna in Ferdinanda Raispa, za razcvet zanimanja za zgodovino in umetnostne spome- nike na Ptuju v 19. stoletju. Ključne besede: portret, baročno slikarstvo, naročništvo, transfer umetnin, ptujski grad, Franc Jožef knez Diet- richstein, Jakob grof Leslie, Ferdinand Raisp Polona Vidmar Ancestor or King? The Reception of 17 th Century Portraits in the Time of Franz Joseph, Prince of Dietrichstein (1767–1854) 1.01 Original scientific article The article seeks to shed light on Franz Joseph, Prince of Dietrichstein’s interest in the history of his own family, which was reflected among other things in his purchase of the original Dietrichstein family seat in Carinthia in 1838. Franz Joseph’s search for the traces of his ances- tors in Carinthia and Styria as well as his purchases of objects are analysed based on the prince’s not yet pub- lished correspondence with the clerks of the seigneuries of Dietrichstein and Gornji Ptuj, which his family inher- ited from the Counts of Leslie. The article discusses the prince’s aspirations to use the inherited, purchased, and commissioned portraits to emphasise the significance of his family and ancestors. As a representative example of the reception of portraits, a series of 14 portraits of Euro- pean rulers, which Jakob Count of Leslie commissioned for the furnishing of the hall of Ptuj castle between 1669 and 1673 was chosen. Since 1835, seven of the ‘sitters’ had been recognized in the inventories of the Gornji Ptuj castle as members of the Leslie family, despite the presence of unambiguous props in the paintings, such as crowns, royal orbs and sceptres, and coronation cloaks. The individuals depicted were more accurately identified by the director of the princely gallery Franz Kutschera in 1857, shortly before they were taken to Vienna in 1860, and from there to Frýdlant castle in Bohemia. The pa- per also highlights the significance of the princely clerks, especially Moritz Seehann and Ferdinand Raisp, for the burgeoning interest in historical and artistic monuments in Ptuj in the 19 th century. Keywords: portrait, Baroque painting, patronage, trans- fer of artworks, Ptuj castle, Franz Joseph Prince of Diet- richstein, Jakob Count of Leslie, Ferdinand Raisp IZVLEČKI IN KLJUČNE BESEDE / ABSTRACTS AND KEYWORDS 193 Sodelavci Contributors Doc. dr. Janez Balažic Univerza v Mariboru, Pedagoška fakulteta Oddelek za likovno umetnost Koroška cesta 160 SI-2000 Maribor janez.balazic@um.si Asist. dr. Martina Malešič Univerza v Ljubljani, Filozofska fakulteta Oddelek za umetnostno zgodovino Aškerčeva 2 SI-1000 Ljubljana martina.malesic@ff.uni-lj.si Mateja Maučec Bratov Učakar 118 SI-1000 Ljubljana mateja.maucec@gmail.com Doc. dr. Mija Oter Gorenčič ZRC SAZU, Umetnostnozgodovinski inštitut Franceta Steleta Novi trg 2 SI-1000 Ljubljana mija.oter@zrc-sazu.si Dr. Vaidas Petrulis Kauno technologijos universitetas, Architektūros ir statybos institutas Architektūros ir urbanistikos tyrimų centras Tunelio gatvė 60 LT-44405 Kaunas Lietuva vaidas.petrulis@ktu.lt Dr. Damjan Prelovšek Zarnikova ulica 11 SI-1000 Ljubljana damjan.prelovsek@zrc-sazu.si Alessandro Quinzi Musei Provinciali di Gorizia Borgo Castello 13 IT-34170 Gorica alessandro.quinzi@provincia.gorizia.it Red. prof. dr. Samo Štefanac Univerza v Ljubljani, Filozofska fakulteta Oddelek za umetnostno zgodovino Aškerčeva 2 SI-1000 Ljubljana samo.stefanac@ff.uni-lj.si Izr. prof. dr. Polona Vidmar Univerza v Maribori, Filozofska fakulteta Koroška cesta 160 SI-2000 Maribor polona.vidmar@um.si ACTA HISTORIAE ARTIS SLOVENICA 26|1 ∙ 2021, 193 Viri ilustracij Photographic Credits Janez Balažic 1–2, 6–15, I–VI: Janez Balažic. 3: © Nagyboldogasszony (Bencés) Templom, Šopron. 4–5 : © Országos Műelmlékvédelmi Hivatal, Budimpešta. Martina Malešič 1–2, 6–7, 9, 11, 14–15: © Ustanova France in Marta Ivanšek, Ljubljana. 3–5, 8, 10, 12–13: © Svenskt arkitektur- och designcentrum ArkDes, Stockholm. Mateja Maučec 1: Arhiv Republike Slovenije, Ljubljana. 2–6: Mateja Maučec. 7–8: D. Damjanović, Umjetnićko blago Strossmayerove katedrale u Đakovu, Đakovo 2017. Mija Oter Gorenčič 1: © INDOK center, Direktorat za kulturno dediščino, Ministrstvo za kulturo Republike Slovenije, Ljubljana (risala: Zvonimir Juretin 1971 (zgoraj), A. Koštomaj 1964 (spodaj)). 2–4, 8: © ZRC SAZU, Umetnostnozgodovinski inštitut Franceta Steleta, Ljubljana (foto: Mija Oter Gorenčič). 5, 9: © ZRC SAZU, Umetnostnozgodovinski inštitut Franceta Steleta, Ljubljana (risal: Nejc Bernik). 6: Maisons de l’Ordre des Chartreux. Vues et notices, 4, Parkminster 1919. 7: © ZRC SAZU, Umetnostnozgodovinski inštitut Franceta Steleta, Ljubljana (foto: Andrej Furlan). 10–13: © ZRC SAZU, Umetnostnozgodovinski inštitut Franceta Steleta, Ljubljana (foto: Gorazd Bence). 14: osebni arhiv avtorice. Vaidas Petrulis 1, 13: © Kauno regioninis valstybės archyvas, Kaunas. 2: Personal collection of Antanas Burkus. 3–4: Kauno miesto statistikos metraštis, 1, Kaunas 1939. 5, 9–11: © Lietuvos centrinis valstybės archyvas, Vilnius. 6: © Lietuvos nacionalinis muziejus, Vilnius. 7: Statybos menas ir technika, 1/2–3, 1922. 8: Vaidas Petrulis. 12: Edward Denison. 14–15: © Šiaulių „Aušros“ muziejus, Šilauliai (foto: Vincas Uždavinys). Damjan Prelovšek 1: F. Stele, A. Trstenjak, J. Plečnik, Architectura perennis , Ljubljana 1941. 2 –5, 7–13: © Muzej in galerije mesta Ljubljana. 6: © Arhiv province sv. Cirila in Metoda, Zagreb (foto: Damjan Prelovšek). ACTA HISTORIAE ARTIS SLOVENICA 25|1 ∙ 2020, 195–196 195 196 Alessandro Quinzi 1: © Narodna galerija, Ljubljana. 2–7: © Musei Provinciali di Gorizia, Gorica (foto: Carlo Sclauzero). Samo Štefanac 1, 4–6, 12, 14: Samo Štefanac. 2: Dioecesis Iustinopolitana. Spomeniki gotske umetnosti na območju koprske škofije, Koper 2000. 3: Matej Klemenčič. 7–11, 13: © Diocesi di Padova. Polona Vidmar 1, 3–4: © Moravský zemský archiv v Brně, Brno (foto: Polona Vidmar). 2, 6, 8: © Knjižnica Ivana Potrča, Ptuj. 5: Barbara Žabota. 7: © Státní oblastní archiv v Zámrsku, Zámrsk (foto: Polona Vidmar). 9: © Pokrajinski muzej Ptuj – Ormož, Ptuj, fototeka. 10: © Zgodovinski arhiv Ptuj (foto: Branko Vnuk). 11–13, 15–18: © Státní hrad a zámek Frýdlant, Frýdlant. 14: Vnderschidliche geistliche vnd weltliche, weibliche, vnd mannliche Contrafait /.../, Ljubljana-Zagreb 2008. 19: © Státní hrad a zámek Frýdlant, Frýdlant (foto: Polona Vidmar). VIRI ILUSTRACIJ /PHOTOGRAPHIC CREDITS © 2021, avtorji in ZRC SAZU Besedilo tega dela je na voljo pod pogoji slovenske licence Creative Commons 4.0 CC BY NC ND, ki pa ne velja za slikovno gradivo. Za kakršnokoli nadaljnjo rabo slikovnega gradiva je treba pridobiti dovoljenje imetnika avtorskih pravic, navedenega v poglavju Viri ilustracij. Za avtorske pravice reprodukcij odgovarjajo avtorji objavljenih prispevkov. © 2021, Authors and ZRC SAZU The text of this publication is available under the conditions of the Slovenian licence Creative Commons 4.0 CC BY NC ND, which is not valid for the published images. Any further use of images requires permission from the copyright holder, stated in the section Photographic Credits. The copyrights for reproductions are the responsibility of the authors of published papers. 26|1  2021 ACTA HISTORIAE ARTIS SLOVENICA  26|1  2021 Jože Plečnik: načrt za cerkev sv. Križa v Zagrebu, varianta s stožčasto streho, detajl fasade, © Muzej in galerije mesta Ljubljana ACTA HISTORIAE ARTIS SLOVENICA 26|1  2021 UMETNOSTNOZGODOVINSKI INŠTITUT FRANCETA STELETA ZRC SAZU http://uifs1.zrc-sazu.si 25 � ACTA HISTORIAE ARTIS SLOVENICA Vsebina • Contents Janez Balažic, Fragmentarno ohranjene gotske stenske poslikave na zahodnem panonskem robu • Fragmentarily Preserved Gothic Murals on the Western Edge of Pannonia Mija Oter Gorenčič, Die monastischen und kunsthistorischen Beziehungen zwischen Gaming und den Kartausen im heutigen Slowenien unter besonderer Berücksichtigung der Memoria und der Herrschaftsrepräsentation der Habsburger und der Grafen von Cilli • Redovne in umetnostne povezave med Gamingom in kartuzijami v današnji Sloveniji s posebnim ozirom na memorio in likovno reprezentacijo Habsburžanov in grofov Celjskih Samo Štefanac, Ponovno o koprski Pieta ` • Di nuovo sulla Pieta ` di Capodistria Alessandro Quinzi, Rodbinske ambicije Sigismunda grofa Attems Petzenstein v luči umetnostnih naročil • Le ambizioni familiari del conte Sigismondo Attems Petzenstein alla luce delle committenze artistiche Polona Vidmar, Vorfahr oder König? Zur Rezeption der Porträts des 17. Jahrhunderts unter Franz Josef Fürst Dietrichstein (1767–1854) • Prednik ali kralj? Recepcija portretov iz 17. stoletja v času Franca Jožefa kneza Dietrichsteina (1767–1854) Mateja Maučec, Vizualna propaganda Stadlerjevih ekumenskih prizadevanj v freskah Ivane Kobilce • Visual Propaganda of Stadler’s Ecumenic Project in Frescoes by Ivana Kobilca Vaidas Petrulis, Kaunas – a Baltic Garden City? • Kaunas – baltsko vrtno mesto? Damjan Prelovšek, Plečnikovi načrti za cerkev sv. Križa v Zagrebu • Plečnik’s Plans for the Church of the Holy Cross in Zagreb Martina Malešič, Risbe iz stockholmskih arhivov. Poskus rekonstrukcije švedske izkušnje arhitektov Franceta in Marte Ivanšek • Drawings from the Stockholm Archives. An Attempt to Reconstruct the Swedish Experience of Architects France and Marta Ivanšek AHAS_26_1_ovitek_12.indd 1 AHAS_26_1_ovitek_12.indd 1 12/01/2021 09:24 12/01/2021 09:24