{"title":"Maribor Synagogue Reexamined","authors":"Janez Premk","doi":"10.3986/AHAS.V23I1.7304","DOIUrl":"https://doi.org/10.3986/AHAS.V23I1.7304","url":null,"abstract":"","PeriodicalId":38175,"journal":{"name":"Acta Historiae Artis Slovenica","volume":"95 5-6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41297468","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Patron᾿s Historized Image. Attems᾿ Family Portraits and Remp᾿s Self-Portrait in the Brežice (Rann) Castle","authors":"Barbara Murovec","doi":"10.3986/AHAS.V23I1.7320","DOIUrl":"https://doi.org/10.3986/AHAS.V23I1.7320","url":null,"abstract":"","PeriodicalId":38175,"journal":{"name":"Acta Historiae Artis Slovenica","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42376295","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Slavic people from South-Eastern Europe immigrated to Italy throughout the Early Modern period and organized themselves into confraternities based on common origin and language. The aim of this paper is to analyze the role of the images of the Schiavoni or Illyrian communities in Rome and in Venice in the fashioning and management of their confraternity, which played a pivotal role in the self-definition of the Schiavoni in Italy. The Scuola Dalmata dei SS. Giorgio e Trifone in Venice is mainly known for Vittore Carpaccio’s narrative cycle, relocated from the first provisory seat owned by the Venetian branch of Knights Hospitaller to the Scuola’s newly reconstructed mid-sixteenth century building. During the confraternity’s century-long existence, it continued to embellish its building: in the 17th and 18th century, the Sala superiore and the staircase leading to it were richly decorated with paintings. The church now known as San Girolamo dei Croati is the only surviving part of the complex once belonging to the Schiavoni/Illyrian confraternity in Rome. It was completely rebuilt by Sixtus V Peretti between 1586 and 1591 according to Martino Longhi the Elder’s designs and decorated extensively by a team of the so-called Sistine painters led by Giovanni Guerra. Like in Venice, the confraternity continued to embellish the church with commissions for the chapels and the hospital. These visual testimonies of programs promoted by members of the two most prominent Early Modern Schiavoni/Illyrian confraternities in Italy have never been thoroughly compared, mostly because of the obvious differences of their urban, political and artistic context. Nevertheless, shared origin, language and Catholic faith do provide a platform to discuss the notion of the “national saints” and Schiavoni strategies of differentiation from the Other in cosmopolitan urban and artistic centers of Venice and Rome.
在整个近代早期，来自东南欧的斯拉夫人移民到意大利，并根据共同的起源和语言组织了自己的兄弟会。本文的目的是分析罗马和威尼斯斯齐亚沃尼或伊里亚社区的形象在他们的兄弟会的塑造和管理中所起的作用，这在意大利斯齐亚沃尼的自我定义中发挥了关键作用。威尼斯的Scuola Dalmata dei SS. Giorgio e Trifone主要以Vittore Carpaccio的叙事循环而闻名，它从医院骑骑会威尼斯分部拥有的第一个临时座位搬迁到Scuola新重建的16世纪中期建筑。在该协会长达一个世纪的存在期间，它继续装饰其建筑:在17世纪和18世纪，Sala superiore和通往Sala的楼梯都装饰了丰富的绘画。现在被称为San Girolamo dei Croati的教堂是曾经属于罗马Schiavoni/Illyrian兄弟会的建筑群中唯一幸存的部分。1586年至1591年间，西斯图斯·V·佩雷蒂根据老马蒂诺·隆吉的设计完全重建了这座教堂，并由乔瓦尼·格拉领导的所谓西斯廷画家团队进行了广泛的装饰。就像在威尼斯一样，共济会继续委托建造小教堂和医院来装饰教堂。这些由意大利两个最著名的早期现代斯齐亚沃尼/伊利里亚兄弟会成员推动的项目的视觉见证从未被彻底比较过，主要是因为它们的城市、政治和艺术背景的明显差异。然而，共同的起源、语言和天主教信仰确实提供了一个平台来讨论“民族圣徒”的概念，以及斯齐亚沃尼在威尼斯和罗马的国际化城市和艺术中心与他者区分的策略。
{"title":"The Artistic Patronage of the Confraternities of Schiavoni/Illyrians in Venice and Rome. Proto-National Identity and the Visual Arts","authors":"J. Gudelj, Tanja Trška","doi":"10.3986/AHAS.V23I2.7331","DOIUrl":"https://doi.org/10.3986/AHAS.V23I2.7331","url":null,"abstract":"Slavic people from South-Eastern Europe immigrated to Italy throughout the Early Modern period and organized themselves into confraternities based on common origin and language. The aim of this paper is to analyze the role of the images of the Schiavoni or Illyrian communities in Rome and in Venice in the fashioning and management of their confraternity, which played a pivotal role in the self-definition of the Schiavoni in Italy. The Scuola Dalmata dei SS. Giorgio e Trifone in Venice is mainly known for Vittore Carpaccio’s narrative cycle, relocated from the first provisory seat owned by the Venetian branch of Knights Hospitaller to the Scuola’s newly reconstructed mid-sixteenth century building. During the confraternity’s century-long existence, it continued to embellish its building: in the 17th and 18th century, the Sala superiore and the staircase leading to it were richly decorated with paintings. The church now known as San Girolamo dei Croati is the only surviving part of the complex once belonging to the Schiavoni/Illyrian confraternity in Rome. It was completely rebuilt by Sixtus V Peretti between 1586 and 1591 according to Martino Longhi the Elder’s designs and decorated extensively by a team of the so-called Sistine painters led by Giovanni Guerra. Like in Venice, the confraternity continued to embellish the church with commissions for the chapels and the hospital. These visual testimonies of programs promoted by members of the two most prominent Early Modern Schiavoni/Illyrian confraternities in Italy have never been thoroughly compared, mostly because of the obvious differences of their urban, political and artistic context. Nevertheless, shared origin, language and Catholic faith do provide a platform to discuss the notion of the “national saints” and Schiavoni strategies of differentiation from the Other in cosmopolitan urban and artistic centers of Venice and Rome.","PeriodicalId":38175,"journal":{"name":"Acta Historiae Artis Slovenica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2017-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70401349","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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