Also known as: Crkva Majke Božje Trsatske. Date: 17th and 18th Centuries. Denomination / Type of monument: Religious, church - PDF

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Name of Monument: Franciscan Church and Monastery of Our Lady of Trsat Also known as: Crkva Majke Božje Trsatske Location: Samostan Majke Božje Trsatske, Frabkopanski trg Rijeka, Rijeka, Trsat,

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Name of Monument: Franciscan Church and Monastery of Our Lady of Trsat Also known as: Crkva Majke Božje Trsatske Location: Samostan Majke Božje Trsatske, Frabkopanski trg Rijeka, Rijeka, Trsat, Goransko-rije#ka County, Croatia Date: 17th and 18th Centuries Photograph: Artists: Painters: Giovanni Pietro de Pomis (active 1569, Lodi 1633, Graz), Serafin Schön (d. 1642), Cristoforo Tasca ( ), workshop of Giovanni Pacassi (active c. 1700), Dionizije Hoffer (d. 1741), Ivo Schweiger (d. 1757) Denomination / Type of monument: Religious, church Patron(s): The Frankopan family; Count Nikola V Frankopan, Stefano della Rovere, Franjo Frankulin, Katarina Sor#an, Sebastian Glavini#, Franjo Gabriel Aichelberg History: The founding of the Franciscan Church and Monastery on the hill of Trsat in Rijeka dates back to the 13th century, built in veneration of the legend of the transportation of the Holy House of Loreto from the Holy Land to Trsat in Rijeka. According to the legend, angels brought the Holy House to the Franciscan church and dedicated it to the Virgin Mary in Three years later, in 1294, the Santa Casa was again transported by angels to Recanati and, finally, in 1295, to Loreto. The church and monastery have both been renovated and extended several times since Count Martin Frankopan initiated the building of the Church of our Lady in the 15th century. In 1641, he had both church and monastery completely renovated in the Baroque style; the Baroque interior decoration spans the 17th and 18th centuries, with works of various stylistic origins. Description: The Baroque inventory of the Franciscan Church and Monastery of Our Lady of Trsat in Rijeka speaks eloquently of the milieus that influenced art and architecture in Croatia during the Baroque era: the Central European artistic and cultural influence in the North, and Italian, mostly Venetian, in the South. Both influences met in Rijeka because of its close proximity to Italy and due to the fact that at the time the town was under the domain of the Habsburg Monarchy. The political connection between Rijeka and the capital of Styria, Graz, resulted in Giovanni Pietro de Pomis being commissioned by Stefano della Rovere (Captain of Rijeka between 1608 and 1638) to paint the altarpiece of St. Anne for a side-altar in the Church of Our Lady of Trsat. Stefano della Rovere played an important role in the revival of the city of Rijeka, strengthening its commercial links and settling military and political disputes between Venice and the court in Graz. The Altarpiece of St. Anne, commissioned to commemorate the death of Roveres wife, is the work of Giovanni Pietro de Pomis, Ferdinand IIs most respected artist and architect before the artists transition to the Viennese court in In the 1630s and 40s, the Franciscan lay-brother painter from Switzerland, Serafin Schön, worked in the monastery in Trsat. The influence of 16th 17thcentury Bavarian painting in Schöns characteristically brilliant colouring is clear, bearing a resemblance to that of Peter Candido or Antonio Maro Viani whose altarpiece paintings are in the Church of St. Michael the Archangel in Munich. Assumedly, therefore, prints were not Schöns only inspiration while he was painting the Trsat compositions. In the first decade of the 18th century, the Venetian painter, Cristoforo Tasca, appeared. Tasca, originally from Bergamo, was a pupil of Antonio Zanchi from whom he inherited the tenebroso style of painting. Between 1704 and 1714, he painted the Old Testament themes of Manna from Heaven and Multiplication of the Loaves for the monastery in Trsat, as well as a large ceiling painting the Assumption of the Virgin in the Summer Refectory. Above the triumphal arch in the church, Tasca painted the Annunciation and the Transportation of the Holy House of Loreto to Trsat. The three wooden side altars of around 1723 are by the Franciscan lay-brother sculptors of Tyrolean origin, Dionizije Hoffer and Ivo Schweiger. Their stylistic origins are discernable in the formal features of their works, which are markedly influenced by some of Tyrols leading Baroque sculptors. View Short Description Founded initially in the 13th century, the Church and Monastery of Our Lady of Trsat is Croatia's oldest sanctuary. Dedicated to the Virgin Mary, it was built in 1291 in veneration of the legend of the transportation of the Holy House of Loreto from Jerusalem to Trsat in Rijeka. In the 15th century, the Church of Our Lady was built and the Franciscan Monastery alongside it; both were redesigned extensively during the following centuries. The inventory of the church demonstrates a development of style throughout the 17th and 18th centuries, revealing a wide range of different stylistic influences. How Monument was dated: The monument and its inventory are dated in archival sources and by the inscriptions. Selected bibliography: Radmila, M., Crkva Gospe Trsatske i franjeva#ki samostan, Rijeka, Repani#-Braun, M., Barokno slikarstvo u Hrvatskoj franjeva#koj provinciji sv. #irila i Metoda, Zagreb, Bari#evi#, D., Barokno kiparstvo sjeverne Hrvatske, Zagreb, Citation of this web page: Mirjana Repani#-BraunFranciscan Church and Monastery of Our Lady of Trsat in Discover Islamic Art, Museum With No Frontiers,2017 database_item.php?id=monument;bar;hr;mon11;24;en Prepared by:,translation by:,translation copyedited by: Mirjana Repani#-Braun,Graham McMaster,Mirjana Repani#- Braun,Mandi Gomez MWNF Working Number: HR 36 St. Anne with Saints and the Rovere Family Left-hand side altarpiece in St. Anne s Chapel 1624 Giovanni Pietro de Pomis (active 1569, Lodi 1633, Graz) The Virgin Mary with the Infant Jesus and St. Anne in the mid-ground of the composition form the characteristic motif known as St Anne Selfthird meaning St Anne with two others (in German, Die heilige Anna selbdritt), an iconographic convention that began in the 14th century. On the right-hand side of the composition are members of the Rovere family together with their saint-protectors. On the left-hand side, a Franciscan monk is seen in profile. Annunciation and Transportation of the Holy House Triumphal Arch, Franciscan Church and Monastery of Our Lady of Trsat 1714 Cristoforo Tasca ( ) Signed: XTOFORO TASCA, 1714 The inscription beneath the painting reads Munificentia Ilustrissimi Dni, Dni Francisci Ignatii Lib. Bar. de Androcha, Dni in Kostell., Kruppa etc. Haec Imago in honorem Miraculosissimae Virginis Tersactanae erecta fuit ; Virgo sanctissima, HVIC BENEFACTORI NVnC IN articvlo VLTae svae, ac PERPEtVo Tva PIETaTE TVIsqVe GRATIIS PROPITIARE. (By efforts of the noble Francis Ignatius Androcha, the baron of Androhia, the lord of Kostell, Kruppa etc. this image was painted in honour of the miraculous virgin of Trsat ) Mystical Supper of the Holy Family Vidoslav Barac Summer Refectory, west wall, Franciscan Church and Monastery of Our Lady of Trsat 1640 Serafin Schön (d. 1642) Vidoslav Barac Inscription on the bottom right-hand side: Facta a Fr. Serafino Schön O.M.S. franc. Croatiae Carnioliae An Refacta vero a DD. Josepho Candito Italo Neapolitano et Georgio Esperlinn Germano Helveto anno Mense Augusto. (Painted by the Franciscan lay brother Seraphin Schön in August 1777; repaired by Italian Joseph (Giuseppe) Candito and German-Swiss Georgio Esperlinn). The theme of the painting is the Sacrifice of Christ presented in a tripartite composition in which the central part belongs to the quiet meal of the Holy Family. The food they are eating has a symbolic meaning. On the left, another set table symbolises Christ's Passion carefully arranged by angels and archangels led by St. Michael. On the right-hand side, two large angels are frying fish, while the two small ones are playing with birds, making clear that this painting belongs to the Franciscan Order. Altar of St. John of Nepomuk Right-hand side altar in the main nave, Franciscan Church and Monastery of Our Lady of Trsat 1723 Dionizije Hoffer (d. 1741) The essential features of the sculptures are in the independently decorative luxuriance of the drapery, which in places grows into abstractly dramatic labyrinths, hiding in its mass the body of the saints; a plastic mass of clothing that with its abundance of folds and deep shadow hides its volume. The expressive faces, with deep, emphatic lines on the noses and eyelids, correlate well with this overall modelling. High Altar Presbytery, Franciscan Church and Monastery of Our Lady of Trsat 1692 workshop of Giovanni Pacassi (active c. 1700) Two sculptures from the Pacassi workshop: St. Francis on the left and St. John the Evangelist on the right.
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