JANKO TROST 1894 - 1975 uatelj mwi^alec etnolog ra^skovalec topograf lutkar karikaturist slikar mentor pisec ^orovodja hL4% JANKO TROST 1894-1975 VseBina Conrens mag. Marina Gradišnik: 9 RiBničan s PRimoRSKimi KOReninami 27 A Local OF Rienica with Roots m thg PRimoRSKa Recion Darko Viler: 49 Idrusko OBDOBje 53 Tue iDRua Pgriod Nadja Kovačič: 59 JaiiKO Trošt m niecova LiKovna zapuščina 71 JaiiKO Trošt ano his Fine Art Lecacv 92 PRiLoca Seznam evidentiranih del Janka Trošta 92 Appenoix The registered works of Janko Trošt InTRODUCTIOn Polona Rigler Grm, managing director Janko Trost, an esteemed expert and a very charismatic person, made a permanent mark on Ribnica in the fields of education, heritage, art, puppet-making and theatre, tourism and topography. He was one of the key people who deserve credit for the foundation of museums in Ribnica and Idrija. Sixty years ago, he started putting together a sort of identity card of the place in a systematic and professional manner. He was a visionary and even back then, more than fifty years ago, he was well aware that artistic creativity and heritage are not limited only to a certain segment of the public or a specific place, and that they are a part of all social and age groups of the local people as well as a wider area. In the present-day, both of these fields strive for the local population to be close-knit and open to the outside world; a closely-knit community is namely essential when it comes to the integration on the national level. Trost used his art and heritage-related language and work to address and characterize the areas of Ribnica, Kočevje and Idrija. He was aiming to merge, connect and explore the heritage of a wider area. His artistic expression and comprehension of the heritage, the people and the places, as well as his broad-mindedness resulted in this wider region being placed on the national map of movable cultural heritage. His language is also reflected through a joint project (an exhibition and a catalogue) carried out by the Miklova Hiša Gallery, the Ribnica Museum, the Kočevje Regional Museum and the Idrija Municipal Museum, which has been funded by the Municipality of Ribnica and the Ministry of Culture. Authors who have put a lot of work into the exhibition and the catalogue are Nadja Kovačič, Darko Viler, Stane Kljun and Marina Gradišnik, who was also in charge of the project coordination and management. There are a number of other people who we would like to give our sincere thanks for helping us uncover the story of Janko Trošt: the Trošt Korenčan family, people who provided us with information, photos, objects and documents, the Nursery School of Ribnica for lending us puppets, Mateja Goršič for the design work and Matej Puntar at Alteralis for setting up a computer application and all others who have contributed to the project. The time after the museum had been established was closely connected with a research on wooden ware and an exhibition of the wooden ware and pottery, which is the fundamental identity Ribnica is well-known for in a wider area of Slovenia as well as Europe. This identity was an important part of the museum's beginnings. It has been fifty years since the first exhibition was set up at the Museum and sixty years since the first expert research was carried out - so this is a good opportunity to celebrate, propose a toast and wish the museum a lot of proficiency and creativity for the coming years. PReOGOVOR Polona Rigler Grm, direktorica Častitljivi Janko Trošt, strokovnjak in človek s karizmo, je pustil neizbrisen pečat v Ribnici na področju šolstva, dediščine, likovne ustvarjalnosti, lutkarstva, turizma, topografije. Bilje eden vidnejših članov pri ustanavljanju muzeja v Ribnici in Idriji. Pred šestdesetimi leti je začel sistematično in strokovno zapisovati osebno izkaznico kraja. Bil je vizionar, ki se je že pred več kot petdesetimi leti zavedal, da likovna ustvarjalnost in dediščina nista določeni le za ožjo javnost ali določen kraj, ampak se vedno vpenjata tudi med različne socialne in starostne skupine lokalnega prebivalstva in v širši narodni prostor. Z likovno in dediščinsko govorico je nagovarjal in označeval Ribniško dolino. Kočevsko in Idrijsko. Združeval, povezoval in odkrival je dediščino širšega narodovega prostora. Njegovo likovno izražanje, razumevanje dediščine, ljudi in krajev ter osebna širina so umestili to široko regijo na nacionalni zemljevid premične kulturne dediščine. Njegovo življenje in delo je zajeto v skupnem galerijskem in muzejskem projektu (razstavi in katalogu), ki je nastal s sodelovanjem Galerije Miklova hiša. Muzeja Ribnice, Pokrajinskega muzeja Kočevje in Mestnega muzeja Idrija ter s finančno podporo Občine Ribnica in Ministrstva za kulturo RS. Luč sveta sta razstava in katalog ugledala z naslednjimi avtorji: Nadjo Kovačič, Darkom Vilerjem, Stanetom Kljunom in Marino Gradišnik, ki je tudi koordinirala in vodila projekt. Pri odkrivanju tančic Janka Trošta se zahvaljujemo družini Trošt Korenčan, informatorjem, darovalcem fotografij, predmetov in dokumentov. Vrtcu Ribnica za posojene lutke, Mateji Goršič za oblikovanje razstave in kataloga, Mateju Puntarju za izdelano računalniško aplikacijo in vsem, ki ste kakorkoli pomagali. Začetki muzeja so povezani z raziskavo o suhi robi in razstavo o suhi robi in lončarstvu, torej s temeljno identiteto, po kateri je prepoznavna Ribnica v širšem slovenskem in tudi evropskem prostoru. Začetki muzeja se navezujejo na to identiteto in zato ob petdesetletnici prve razstave in šestdesetletnici strokovne raziskave praznujmo z muzejem, nazdravimo mu in mu zaželimo še mnogo strokovnega in ustvarjalnega duha. v h 4 O? Ivan Vavpotič: Ivan Vavpotič: ': Janko Trost, olje, platno Janko Trost, oil, canvas Rieničan s PRimoRSKimi KOReninami Mag. Marina Gradišnik, višja kustosinja Muzej Ribnica Poldne zvoni v ribniških zvonikih in gospod s palico v eni in cigareto v drugi roki stopa proti Cenetovi gostilni. Vsa leta prihaja točno in se vedno usede na isto mesto, na svoj »tambuliran plac«^. To je podoba Janka Trošta, ki je najgloblje vtisnjena v spomin Ribničanov, to je slika zadnjih let njegovega življenja ... življenja, ki seje začelo v drugem kraju in v drugem času. 20. januarja 189A se je Rozaliji (roj. Premrl) in Ivu Troštu v Razdrtem pri Postojni rodil četrti otrok in drugi sin - Janko Janez Zlatoust. Družina Janka Trošta V zakonu seje Rozaliji in Ivu rodilo devet otrok, osem se jih je rodilo v Razdrtem, le najmlajši v Tomišlju. Dva sta umrla kot dojenčka, hčerka Frančiška pa je umrla v najstniških letih, vzrok njene smrti ni znan. Po očetu je družina izvirala iz Cola, Ivo Trošt se je rodil pri Mačkovih v kraju Orešje. Nadaljeval naj bi poklic trgovca, ki ga je opravljal že njegov oče, vendar ga ta ni toliko veselil, raje si je izbral poklic učitelja. Leta 1880 je odšel na enoletni pripravljalni tečaj v Kobarid, nato pa je obiskoval učiteljišče v Kopru (1881-1885). Po zaključku izobraževanja je nastopil svojo prvo službo v Ustjah pri Ajdovščini. Leto kasneje pa je bil premeščen v Razdrto pri Postojni, kjer je ostal petnajst let, vse do leta 1901. Tu je spoznal svojo prvo ženo, se poročil in si ustvaril družino. Na Razdrtem je bil tudi domači učitelj in družabnik v graščini Garzarolijev. 1 V gostilni Pri Cenetu v Ribnici je imeUanko Trošt svoj stalni prostor, svojo mizo, sam ga je imenoval »tambuliran plac«. Leta 1901 je Ivo Trost nastopil službo nadučitelja v Tomišlju in se z družino preselil tja. Januarja 1906 mu je umrla prva žena, isto leto se je drugič poročil z Alojzijo Caharijo. Najstarejšemu otroku, Vladimirju, je bilo ob tem dogodku 17 let, Olgi 15, Janku 12, Emilu 11, Mariji 9, Frančiški 7 let in najmlajšemu Ludoviku komaj štiri leta. V drugem zakonu ni bilo otrok. Alojzija je otroke svojega moža vzgajala po svojih najboljših močeh. Po pripovedovanju sorodnikov je bila skrbna in topla. Tudi na podlagi družinskega arhiva lahko sklepamo na pristen odnos med otroki in mačeho, ki sojo vedno imenovali mama. Oče Ivo Trošt je večji del svojega življenja posvetil učiteljskemu poklicu in literarnemu ustvarjanju, objavilje okrog tristo leposlovnih prispevkov. Posvečal seje tudi glasbi, vodilje cerkvene in posvetne pevske zbore. Sodeloval je pri humanitarnih in naravoslovnih društvih ter sokolski organizaciji. Pod njegovim vodstvom sta nastali tudi podružnici kmetijskega in sadjarskega društva v Tomišlju. Poleg naštetega je v časopisu Učiteljski tovariš pripravljal strokovne prispevke o vprašanjih učiteljskega poklica in vzgojnih metodah. Nekateri izmed prispevkov iz navedene tematike so bili uvrščeni celo v šolske čitanke.^ Imel je železno voljo, s katero je izpopolnjeval svoje znanje in si širil obzorje. Iz Jankove življenjske zgodbe lahko sklepamo, da mu je bil oče velik vzornik; ne samo da je nosil njegovo ime (Janko se v dokumentih in osebni korespondenci podpisoval tudi kot Janez ali Ivan), ampak je tudi edini od otrok šel po njegovih stopinjah ter kot učitelj in ustvarjalec za sabo puščal globoke sledi. Enako kot Jankov oče je bil tudi Janko karizmatična oseba. To lahko sklepamo že po tem, kakšen vtis je pustil na ljudeh: »Neizbrisen in hkrati nepozaben vtis naredi že, če se človek komaj urico ali dve pomenkuje z njim. Kako je šele globoko segel tistim, kijih je učil in pripravljal za življenje.«^ Vsi Troštovi otroci so se izšolali in se razselili po takratni državi. Vladimir je služboval v Sarajevu kot vodja pošte in telegrafa, poročil se je z Avstrijko z Dunaja. Po drugi svetovni vojni sta se z ženo zaradi njegovega zdravstvenega stanja preselila v Pulo, kjer je dočakal tudi pokoj. Koliko sta bila brata v stiku, ko je bil Vladimir še v Sarajevu, ne vemo, verjetno sta komunicirala predvsem preko pošte. Kasneje, ko seje brat preselil v Pulo, pa sta se pogosto dobivala. Janko je odhajal k njemu na počitnice. Zanimivo je, da ga je Janko celo pregovoril k ožiganju v les. Tako sta skupaj ožigala motive puljske dediščine in jih prodajala v spominkarskih trgovinah v Puli. Motivika Pule in morja je navdihnila tudi nekaj Jankovih likovnih del. Brat Emil - Milo je po vojaški šoli, ki jo je obiskoval v Beogradu, tam tudi ostal. Delal je na poštnem ministrstvu. Ko so Nemci leta 19A1 zasedli Beograd, so ga odpeljali v ujetništvo. Vojno je Jafiko Trošt kot poročna poročna priča nečakinji Stanislavi - Bebi. Janko Trošt as a witness at the wedding of his niece Stanislava - Beba. 2 Bajc, Marija: Bibliografija Iva Trošta. Diplomsko delo. Filozofska fakulteta. Oddelek za bibliotekarstvo. Ljubljana 1992, str. 6. 3 Sattler, Miran: Znanec iz sosednje ulice. Janko Trošt. V: Nedeljski dnevnik, št. 227/VII (1970), str. 5. preživel, vendar se ni nikoli več vrnil nazaj domov. V času službovanja v Beogradu in tudi v obdobju, ki gaje preživel v nemškem taborišču, sije redno dopisoval z domačimi. Iskreno gaje skrbelo, kako se jim godi. Po drugi svetovni vojni pa so se stiki iz neznanega razloga pretrgali. Sestra Marija - Mimi je naredila poštarsko šolo v Trstu in je kasneje delala na poštnih uradih. Znala je italijansko in nemško. Zaradi znanja jezikov so jo pogosto pošiljali službovati v turistične kraje, kot sta Rogaška Slatina in Bled. Zadnja leta službovanja je delala na pošti v Ljubljani. Sestra Olga se je odločila za poklic knjigovodkinje, do pokoja je delala pri knjigotrštvu Čemažar v Ljubljani. Najmlajši brat Ludovik - Ludo je šel po stopinjah brata Emila in je prav tako končal vojaško šolo v Beogradu. Napredoval je v kapetana L razreda in bil zaposlen v saniteti Dravske divizije s sedežem v Ljubljani. Umrl je leta 19A5 kot žrtev povojnih likvidacij. Ko sledimo korespondenci, vidimo, da so si člani družine Trošt pogosto dopisovali, se obveščali, kaj se s kom dogaja, in se tudi obiskovali. Janko Trošt je ohranjal najtesnejše stike s sestro Mimi, bratom Vladimirjem in nečakinjo Stanislavo, hčerko najmlajšega brata, ki je kot otrok izgubila očeta. S Stanislavo - Bebo in njeno družino je ohranjal stike vse do svojih zadnjih dni. Njihovi obiski v Ribnici so bili povezani z obiskom muzeja, včasih jih je stric odpeljal na izlet na Travno goro, v Sodražico h Kaprolom, v Ribnici pa obvezno k Cenetu. Janko Trošt od leta 1920 do leta 1946: pedagog, topograf, lutkar, karikaturist Janko je ljudsko osnovno šolo obiskoval v Tomišlju, deško osemrazrednico in učiteljišče pa v Ljubljani. Prvo službo je nastopil kot učitelj v Šmihelu pri Novem mestu, nato je z učiteljevanjem nadaljeval v Loškem Potoku. V letu 1915 je bil vpoklican v vojsko. V korespondenci iz družinskega arhiva zasledimo skrb brata Vladimirja, ki piše mami: »Kako se kaj brata čutita v cesarskih suknjah? Meni je Milo pisal, pa samo karto, da je bil doma za vse sveti. Tudi Janko mi nične piše. /.../20. december 1915« Janko Trošt s svojimi sovojaki v prvi svetovni vojni (desno :^daj). Janko Trošt and his fellow soldiers during the First World War (second row, on the right). V letih 1919 in 1920 je bival v Mariboru, tam je delal kot učitelj na državni dvorazredni trgovski šoli in v tem času opravil tudi usposabljanje za meščanskošolskega učitelja na pedagoškem tečaju za meščanske šole. Leta 1920 je bil imenovan na ribniško meščansko šolo kot strokovni učitelj IN. strokovne skupine. Mnogi učenci se ga spominjajo kot strogega, a dobrega učitelja. Tako kot je bil strog do svojih učencev, je bil tudi do sebe: »Cvetje ovene, list odpade in se posuši, strogost Janka Trošta pa ostaja. Zaradi njegove strogosti, doslednosti, vzgojiteljske in pedagoške vneme se je njegovim učencem dolga leta potem, ko jih ni več učil, sanjalo o Janku Jroštu.«.'' Glede na to, da je izhajal iz ugledne učiteljske družine, ki je bila naprednega meščanskega duha, mu je zagotovo prijalo dejstvo, da je prišel živet v kraj, ki je imel bogato dediščino in zgodovino. Prišel je v kraj, od koder so izvirali in kamor so prihajali na obisk številni znani Slovenci. Poleg talentov, ki jih je nosil v sebi, je zagotovo k razvoju njegove ustvarjalnosti pripomogla napredna klima, ki je vladala v Ribnici pred drugo svetovno vojno. Kot ugleden intelektualec, učitelj, kasneje tudi ravnatelj, je hitro dobil družbo ribniških kapišonov^, s katerimi je razglabljal o aktualnih lokalnih dogodkih in z zanimanjem spremljal njihove dogodivščine. Preko njih je verjetno spoznal tudi intelektualce, ki so v Ribnico prihajali na obisk k prijateljem, in domačine, kot so dr. Ivan Prijatelj ali dr. Matevž Šmalc, dr. Anton Debeljak in druge. Na starost se je z nostalgijo spominjal minulih dni: »Zanimivi so bili časi, bogati in enkratni, če se spomnim, ko si se lahko videval in se pogovarjal z dr Prijateljem, dr Debeljakom, pesnikom Župančičem, notarjem Grobelnikom, Šmalcem in tako naprej.« ^ Kot učitelj je poučeval risanje, petje, računstvo, (opisno) geometrijo, geometrijsko risanje, geometrijo z V ogled na meščansko šolo v Ribnid. Zgrajenaje hila leta 1925. A view of the higher primary school in Ribnica. It was constructed in 1925. geometrijskim in tehničnim risanjem, prostoročno risanje, lepopis, leposlovje, državljanske dolžnosti z osnovami zakonodaje, deška ročna dela, zemljepis, botaniko in zoologijo.^ Med ostalimi področji njegovega zanimanja je bila nedvomno tudi topografija, saj je v času svojega službovanja izdelal kar dva zemljevida, ki sta se uporabljala v šoli pri pouku zemljepisa. Že kmalu po 4 Sattler, Miran: Znanec iz sosednje ulice. Janko Trošt. V: Nedeljski dnevnik, št. 227/VII (1970), str. 5. 5 Z izrazom »kapišon« so v Ribnici označevali ribniške purgarje (tržane). Izrazje značilen le za Ribnico, ni ga zaslediti nikjer drugje. Po pripovedovanju naj bi bil izpeljanka iz italijanske besede capisco (razumem) in naj bi predstavljala razumnika. 6 Sattler, Miran: Znanec iz sosednje ulice. Janko Trošt. V: Nedeljski dnevnik, št. 227/VII (1970), str. 5. 7 Ivanec, Staša: Seznam učiteljev in duhovnikov, ki so poučevali na ribniški meščanski šoli. V: Meščanska šola v Ribnici. Osnovna šola dr. Franceta Prešerna Ribnica, 2006, str. 188. pričetku svojega službovanja je pripravil načrte za Zemljevid sreza Kočevje (1: 50 000), ki je dobil potrditev ministrstva za prosveto leta 192A in seje od leta 1928 tudi uporabljal kot učni pripomoček. Zemljevid je izdal kočevski srez. Drugi zemljevid, Zemljevid kočevskega okraja (1: 50 000), je bil s strani ministrstva odobren leta 1937, izdal ga je dve leti kasneje v samozaložbi. V letu 1927 je pripravil vse potrebno za vzpostavitev lutkovnega gledališča meščanske šole. Oder in vso scenografijo ter lutke za predstave je izdelal Janko Trošt oziroma učenci pri njegovem predmetu ročna dela. V šolski kroniki meščanske šole beremo: »22. januarja 1928 je bilo otvorjeno marionetno gledališče, kije priredilo nekaj dobro uspelih predstav. Igralo je učiteljstvo in nekaj gospic - tržank. Za napravo, ureditev in vodstvo odra so se trudili učitelji g. Trošt, /.../ Rozman in Vanič. Oder sta napravila Trošt in Rožman, lutke Trošt. Les so dali tukajšnji lesni trgovci brezplačno. Lutke so oblekle učiteljice in ribniške dame.« ® Lutkovno gledališče je uprizarjalo redni program doma in tudi gostovalo, na primer na Ljubljanskem velesejmu leta 1929, na katerem so se predstavljale meščanske šole iz vse Slovenije. Ribniška šola se je v čast desetletnici svojega obstoja predstavila še posebej svečano: »Ob tej priliki je nastopalo tudi Ra^ed meščanske šok v Ribnid. V prvi vrsti je prvi leve ]anko Trošt, na sredi Anton Mervic, tedanji ravnatelj. One of the classes of the higherprimaty school in Ribnica. The first person sitting on the left in the first row is ]anko Trošt, while Anton Mervic, the then headmaster, is sitting in the mittle. lutkovno gledališče, kjer so trikrat odigrali igro "Razbojnik Moroz", ki jo je po Tolovaju Mataju zapisal Miran Jarc nalašč za ribniško šolo.«^I že omenjeno Jarčevo igro, ki so jo igrali v ribniškem narečju, so nastopali tudi po drugih šolah, leta 1932 celo na meščanski šoli v Idriji.^" Oder in ves inventar lutkovnega gledališča so leta 19A3 ob umiku iz Ribnice s sabo odpeljali Italijani. 8 ZAL, Šolska kronika Meščanske šole v Ribnici (šolsko leto 1927/28). 9 ZAL, Šolska kronika Meščanske šole v Ribnici (šolsko leto 1928/29). 10 »9. februarja bo oddajala meščanska šola v Idriji lutkovno burko: »Razbojnik Moroz« v ribniškem narečju.« (Učiteljski tovariš, št. 5(1932), vir: http://www.dlib.si/preview/URN:NBN:SI:doc-C0HF6L2l). Anton Mervič, prvi ravnatelj ribniške meščanske šole, je svoje ravnateljevanje zaključil 23. septembra 1930. Nasledil ga je Janko Trošt. To je bil nedvomno vrhunec v njegovi profesionalni karieri. Kljub novemu položaju je še vedno ostal v razredu in poučeval. Čas konec dvajsetih let in trideseta leta 20. stoletja je obdobje Troštovega največjega ustvarjalnega zagona. Ne moremo se znebiti občutka, da je vse stvari, ki jih je uresničil v petdesetih in šestdesetih letih, zastavil že takrat. V čas od leta 1929 do leta 1932 uvrščamo tudi njegove najbolj znane karikature: Ribniški kapišoni v domačem parlamentu. Ribniški jagri, Deputacija kruha, drv in zdravja, Flajštranje v Ribnici in Tu pregajnejne iz krize u Ribenci. Kakšen status oziroma veljavo je imel Trošt v kraju, lahko sklepamo tudi po tem, da je bil v Ilustriranemu Slovencu, izdanemu leta 1931 in posvečenemu Ribnici, izpostavljen kot: »/.../ ravnatelj ribniške meščanske šole, priljubljen karikaturist in vnet lutkar, ki izdeluje sam lutke za svoje marionetno gledališče v meščanski šoli.V isti publikaciji so bile objavljene tudi Troštove karikature. Motiv i:iRibnice, 1931, olje, lesonit A scene front Ribnica, 1931, oil, hardboard Med vojno je ribniška meščanska šola gorela in takrat je bilo poleg inventarja in šolske knjižnice uničenih še mnogo dragocenih stvari, ki jih je Trošt zbiral skozi leta svojega delovanja v Ribnici. Če verjamemo dr. Niku Kuretu, ki je spisal tekst o Janku Troštu za Slovenski biografski leksikon, je takrat zgorelo več kot šeststo Troštovih risb ljudskih okraskov na lesu, kovinah, pohištvu in v stavbarstvu. Prav tako so takrat zgorele tudi serije slik, ki jih je za ribniško meščansko šolo naslikal France Mihelič. 11 Ilustrirani Slovenec, številka 50 (1931), str. 395 - 396. Trost je napravil kopije le-teh in po njih tudi upodabljal Ribničana Urbana na svojih predvsem po vojni tako značilnih na lesu žganih in barvanih upodobitvah, ki še danes krasijo marsikateri dom in gostilno.^^ V tridesetih letih zasledimo njegove avtorske prispevke v mladinskem listu Razori. V njem je leta 1933 do potankosti opisal lutkovni oder in izdelavo lutk, in sicer v naslednjih prispevkih: Lutkovni oder, Načrt za lutko, Izdelava ogrodja za lutke, O barvanju in oblačenju lutk. Kulise za lutkovni oder. Leta 193A je v istem časopisu objavil prispevek Trdi in ploski čopič, v katerem je bralce podučil, kako se izdelata dve vrsti čopiča za slikanje večjih ploskev. O zgodovini jaslic na Slovenskem in načrtih za izdelavo figur pa lahko beremo v prispevku Nekaj za Božič, ki gaje za Razore pripravil leta 1939. V Razorihie leta 1935 objavil tudi zgodbo Bajtarske, ki govori o prigodah prebivalcev Bajt, malih vasic na skrajni jugozahodni meji tedanjega kočevskega sreza: yy Revne hiše, prav za prav bajte leže raztresene po pustih pobočjih Travljanske gore, tam za Velikim vrhom ob Riglu, kjer vodi komaj kozja steza po eni strani do Prezida in Babnega polja, po drugi pa proti Čabru. Je to pust in od Boga pozabljen svet. Naselja so tako redka, da niti ne veš, kje se eno neha in prične drugo. Ljudje so revni, toda dobri in pošteni. Po večini drvarijo in se bavijo z obdelovanjem lesa po kočevskih in bližnjih gozdovih ter po Snežniku.«}^ Omenjena zgodba pa ni Troštov edini znani in ohranjeni poskus literarnega udejstvovanja. Dobrih sedemdeset let kasneje je bil odkrit prepis zgodb o Ribnici in Ribničanih ki jih je na podlagi Troštovega rokopisa prepisal Tone Petek. V teh zapisih lahko opazimo čut za literarno ustvarjanje in njegov smisel za ribniški humor. Literarni talent je nedvomno podedoval po očetu, vendar se na tem področju očitno ni počutil toliko suverenega, da bi samostojno ustvarjal in objavljal, kar je velika škoda. Ko »gospod ravnatelj«" ni poučeval, slikal ali pisal, se je rad spustil s prijatelji po belih strminah okoliških hribov ali celo z višje ležečih ledenikov. Z ohranjenega fotografskega materiala lahko razberemo, da se je na smučanje odpravljal z dr. Janezom Oražmom in zakoncema Schweiger ter tudi s šolskima kolegoma, Janezom Debeljakom (Kramarčkom) in Antonom Majnikom. Da ga v hribe ni vabilo le smučanje, nam dokazuje tudi njegovo članstvo in izvolitev med odbornike v Ribniški podružnici Slovenskega planinskega društva. Veliko prostega časa je porabil, da je prehodil, prekolesaril ali s svojim DKW motorjem prevozil Ribniško in Dobrepoljsko dolino. Bloke, Loški Potok in Kočevsko, popisoval in zapisoval območje suhe robe, načine izdelave le-te ter druge kulturne in naravne značilnosti. Najraje in največ seje zadrževal v Sodražici, kjer je poleg Kaprolovih prijateljeval tudi z Ivanci in Debeljaki, slednji so živeli v Ravnem Dolu, rad je zahajal tudi v Loški Potok. Leta 193A je opravil tudi etnografski tečaj državnega muzeja v Ljubljani, kasneje, leta 19A8, še konservatorski tečaj, bil pa je tudi poverjenik Zavoda za varstvo kulturnih spomenikov Slovenije. 12 France Miheličje obiskoval šolo v Ribnici in bil tudi Troštov učenec. Janko Trošt je opazil njegov likovni talent in ga spodbujal k temu, da se vpiše na akademijo. France Miheličje bil Troštu za to hvaležen in mu je zaradi tega dovolil, da je lahko upodabljal njegove like v predrugačenih izvedbah. Trošt je tudi uredil, da je Mihelič naslikal fresko na nekdanji posojilnici, ki jo lahko vidimo še danes. Poleg Miheliča je k likovnemu ustvarjanju spodbujal tudi sina njegovih osebnih prijateljev - Debeljakovih iz Ravnega Dola. Ludvik Debeljak je bil talentiran fant in je svoje ilustracije že objavljal v časopisih, vendar je njegov nadaljnji uspeh prekrižala vojna. Po pripovedovanju učencev je bil Trošt izjemno naklonjen otrokom, ki so znali risati. Koje Trošt prepoznaltalent v katerem izmed svojih učencev, mu ni bilo škoda prehoditi poti in prepričevati svojcev, naj se temu otroku vendar omogoči nadaljnje izobraževanje. 13 Trošt, Janko: Bajtarske. V: Razori. List za odraslo mladino. Letnik IIL, februar (1935), str. 182. 14 Ni podatka, kdaj točno so te zgodbe nastale. Po njihovi vsebini lahko sklepamo, da jih je pisal več let in po delih. Zagotovo so deloma nastale že pred drugo svetovno vojno, mogoče ravno v obdobju, ko je pisal Bajtarske. 15 Ribničani so Janka Trošta imenovali »gospod ravnatelj« tudi še potem, ko seje kot upokojenec vrnil nazaj v Ribnico. Trost je bil tudi ljubitelj podzemlja in eden izmed pobudnikov za ustanovitev ribniške jamarske sekcije v Društvu za raziskovanje jam Slovenije leta 1957." Ob vsem zgoraj naštetem ne smemo pozabiti omeniti tudi njegov glasbeni talent, ki ga je podedoval po očetu. Več kot sedemnajst let je vodil ribniški sokolski pevski zbor in z njim prirejal koncerte. 1945 -1956: Odpust iz prosvetne službe, selitev in bivanje v Idriji Iz Slovenskega biografskega leksikona izvemo, da je Janko Trošt leta 19A5 v Ribnici organiziral lesno domačo obrt in ustanovil zadrugo Suha roba, 19A5-19A6 ter bil tudi njen predsednik. Sam pa v enem izmed intervjujev navaja, da je ustanovil zadrugo v Sodražici, predvidevam, da leta 19A6. Leta 19A5 so mu brez navedbe vzroka in uradnega dekreta odvzeli položaj ravnatelja nekdanje meščanske šole, februarja 19A6 je odšel na dopust, ki ga je podaljšal do konca avgusta. V letu 19A6 je bil tudi brez pojasnila izbrisan iz volilnega imenika, čemur je jeseni sledil odpust iz prosvetne službe. V tem obdobju se je za nekaj časa preselil iz Ribnice in stanoval v Sodražici pri Kaprolovih. Leta 19A8 je po zaslugi republiškega javnega tožilstva prejel vrnitev državljanskih pravic in bil ponovno sprejet v prosvetno službo, toda v Ribnici zanj ni bilo več prostora. Kaj je botrovalo tem dogodkom, še ni povsem pojasnjeno, sam v intervjuju pravi, da se je to zgodilo zato, » /.../kersem podpiral in razvijal v tej dolini tedaj domačo obrt, ustanovil zadrugo v Sodražici, tisti, ki pa so imeli takrat besedo, so menili, da to nima smisla in da naj s tem nehamo.«" Obstajata pa še dve razlagi, zakaj je bil suspendiran. Po prvi razlagi naj bi se mu zaradi njegove strogosti maščevali učenci, druga pa pravi, da je bil vzrok v njegovem angažmaju glede ohranitve ribniškega gradu. Sam je kasneje pripovedoval, kako je šel protestirat na občino, ko so rušili ostanke ribniškega gradu in tako uničevali dragocen kulturni spomenik. Ostanke grajskega poslopja so drobili v pesek, s katerim so utrjevali tla, kjer so nekdaj stali grajski hlevi. Na tem prostoru so postavljali nove garaže za tovorne avtomobile. Njegovo posredovanje pri Lončar s krošnjo, 1966, tempera, lesonit A potter with his ware, 1966, tempera, hardboard 16 V maju 1957 seje zbralo v Ribnici deset navdušenih jamarjev in sklenili so, da se tudi formalno združijo kot člani sekcije Društva za raziskovanje jam Slovenije. Leta 1958 so društvo po ustanovnem občnem zboru tudi registrirali. 17 Sattler, Miran: Znanec iz sosednje ulice. Janko Trošt. V: Nedeljski dnevnik, št. 227/VII (1970), str. 5. takratnem županu se je kaj klavrno končalo, saj mu je župan baje zagrozil in pokazal vrata.^® Verjetno je tudi na podlagi te izkušnje zapisal v dopisu, ki ga je poslal na Zavod za varstvo spomenikov A. februarja 19A8, naslednje: »Mnenja sem, da bi bilo delo poverjenikov mnogo uspešnejše, če bi se vsi podobni zgodovinski spomeniki zaščitili z zakonom. Na ta način bi bilo poverjenikom prihranjenega veliko nepotrebnega truda in dela, ker bi se v vsakem podobnem slučaju skliceval samo na zakon. Dolžnost njegova bi bila samo opozoriti odločilne faktorje na zakonite odločbe, ki bi jih morala izpolnjevati tudi ljudska oblast. Tako pa pri takih prilikah poverjenik izpostavlja samo svojo lastno osebo, da se zmerja s svojimi posegi gotovim osebam, ki ne morajo pojmiti važnosti in vrednosti kakršnekoli vrste naših spomenikov in kar redko ostane brez posledic na njegovi lastni koži.«}^ Vojna ga ni neposredno prizadela samo s požigom meščanske šole, ko je bilo uničeno njegovo več kot dvajsetletno delo, in z degradacijo, ki jo je doživel po njej, ampak ga je močno prizadela tudi skozi usode njegovih družinskih članov. Brata Emil in Ludovik sta bila vojaka v vojski Kraljevine Jugoslavije. Emil je bil že leta 19A1 ob napadu na Beograd odpeljan v nemško taborišče in tudi najmlajši bratje očitno preživel nekaj časa v internaciji, saj je v družinski korespondenci naslednji zapis (brat Vladimir v pismu sestri Mariji): »Včeraj sem dobil karto odJankota, kjer mi sporoča, da je Ludo menda interniran, česar sem se bal, je nastopilo. Pisal sem Jankotu, naj stori vse potrebne korake in naj gleda, da se Ludo osvobodi.« Ko se je Ludo vrnil iz internacije, se je javil na poziv štaba Slovenskega domobranstva in bil dodeljen v ambulanto v Ljubljani, februarja 19AA pa v lekarno, podrejeno šefu zdravstvenega odseka SD. Vodil je oskrbo z zdravstvenim materialom do konca vojne. Kljub temu da se je ob koncu vojne sam javil na Komandi mesta Ljubljana in pojasnil svojo vlogo v vojni, je končal neznano kje. Usoda je razbila Jankovo primarno družino. Da seje trudil rešiti še, kar se rešiti da, dokazujejo njegova iskanja sledi za Emilom še proti koncu petdesetih let. Janko Trošt je v obdobju suspenza aktivno deloval kot poverjenik Zavoda za zaščito kulturnih spomenikov Slovenije za okraj Kočevje. Zavod je obveščal o stanju kulturnih spomenikov na tem območju. Že leta 19A6 je poslal obsežen dopis glede kapele sv. Jurija nad Ortnekom, kjer je prišlo do kraje štirih lesenih kipov evangelistov z baročne prižnice. Osebno je pregledal kraje od Loškega Potoka, Drage in Trave ob Čabranki in Kolpi: »Razen na Travi, Borovcu in Štalcerjih, kjer so cerkve požgane in popolnoma uničene, je ostalo po vojni še dokaj vse na svojih mestih in ohranjeno. V Rogatem Hribu je ostala cerkev z lesenimi kasetiranim in slikanim stropom nepoškodovana. /.../ V tekočem tednu sem bil do Starega Loga. Medtem ko so vasi tega dela Kočevske popolnoma uničene, so cerkve, z izjemo v Klepah, kije požgana, vse ostale in so potrebna le delna popravila.<.Wooden wicker is the most prominent element of wooden ware with a long-standing tradition in all forms of the Ribnica sieve. There are various kinds of old sieves with a bottom made of wooden wicker attached to the rim. Quite often the wicker seams make up exceptionally ingenious ornaments along the rim, even the owner's initials or the year ware was made in can be seen. In addition to wicker seams there are also wicker nets, intertwining, rims, hems, besides numerous ornamental corms that can be created by means of wicker Wicker can deservedly be considered a typical ornamental element of souvenir-making in Ribnica. Such ornaments combine really well with wood, they are simple and home-made and most importantly a genuine feature of Ribnica.«?'' What all of Trost's publications on wooden ware have in common - this being a thing of great importance - is that he always mentions the need for an independent carpentry school. Even as early as 1938, in his work Prizdomarjih (At Peddlers'), Trost wrote: »It seems that Ribnica cannot and must not much longer stick with courses only; it is necessary for the management of this field to be taken over by a permanent technical carpentry-trade school in Ribnica, which is indispensable if we wish to preserve the wood cottage industry in the Ribnica Valley in all of its productivity as the most important sector of the national economy.«^^ In his contribution published in the Slovene Ethnographer in 1951 Trost likewise said: »The ability to industrialize the cottage industry depends foremost on skilled labourers that can be trained by a well-planned carpentry technical school only. Sodražica, which has always been the centre of wooden ware and has for decades been striving for it unsuccessfully, has now got all the necessary premises set and ready; they are housed in the building of the new public school and are awaiting the equipment, the experts and the pupils.«^^ The Tourist Gazette dating back to I960 mentions: »There 26 Grivec, France: Razgovor z Jankom Troštom. Notranjec z Razdrtega. / A Conversation with Janko Trošt. A Native of Notranjska Region from Razdrto. In: Novice. No. 32 (1962), p. 2. 27 Trošt, Janko: Ribniška suha roba in lončarski izdelki v spominkarstvu. / The Wooden Ware and Pottery of Ribnica as Souvenirs. In: Turistični vestnik. No. 1 (I960), pp 21-22. 28 Trošt, Janko: Pri zdomarjih. / At Peddlers'. In: Dolenjska. Ljubljana 1938, p. 169. is an ever-growing need present in the Ribnica Valley for a permanent technical school for wooden products, where souvenir-making would be included as an integral part of it It needs to be admitted that the people of Ribnica are born with the sense of working with wood; they only need to be steered in the right direction and be guided regarding technical requirements and towards new assignments. All of these issues, which are of vital importance for Ribnica, could only be solved properly by means of the town's own school; new measures taken by the school would save wooden ware making from inevitable ruin and the school itself would make sure souvenir-making has a permanent place in it«^° By making use of Trost's pedagogical knowledge, his leadership abilities and the overview over the wooden ware production he had, a school of truly high quality could be established. In a contribution written in 1938, Trost delivered a detailed description of the main tasks and goals of the carpentry trade school. This and his further attempts give reason to believe that the Ribnica Valley had never before been as close to getting its own carpentry-trade school as at that time. It is however not known why the school was never set up. Janko Trost was anything but fond of kitsch, the fact that it was used in souvenir-making and artistic creations was actually making him angry. In choosing the products to be sold in the shop, Matoh worked closely with Trost; according to him none of the items were offered on sale unless Trost gave Semenj v Ribnid, ^ano in barvano na ks A fair in Ribnica, burnt and coloured on mod his approval. These oral statements about Trost's attitude to the use of kitsch are further proven by his own written record: »For as long as junk and low-quality low-priced goods are on sale in the shop, there will be no shortage of plain buyers who will keep on buying them. As has been suggested before, there really may be the need for a special museum for kitschy and worthless goods only, anything from poor-quality bronzed plastic, yyartistic« pictures, china and glassware, cushions with dog and cat heads, metal ware and ceramics, to wooden souvenir items. This sort of exhibition would be the first thing to open the eyes of a plain sinner. It would be more educational than all of the speeches and articles combined that have previously unsuccessfully dealt with this subject matter.«^^ 29 Trošt, Janko: Ribniška suha roba v lesni domači obrti. / The Wooden Ware of Ribnica as Part of the Wood Cottage Industry. In: Slovenski etnograf.. Vol. III-IV (1951), pp 61-62. 30 Trošt, Janko: Ribniška suha roba in lončarski izdelki v spominkarstvu. / The Wooden Ware and Pottery of Ribnica as Souvenirs. In: Turistični vestnik. No. 1 (I960), pp 21-22. 31 Trošt, Janko: Turizem in naše spominkarstvo. / Tourism and Our Souvenir-making. In: Turistični vestnik. No. 8 (1958), pp 243-245. Janko Trošt between 1956 and 1961: Return to Ribnica and the Establishment of the Museum The plans to establish a museum in Ribnica had existed even prior to the Second World War, however they were later thwarted because of the war. Trošt had even back then been in charge of preparations himself, he had namely completed the necessary training for it.^^ Also, he was very well familiar with this area and the heritage of local towns and villages. There was without a doubt no other person more qualified to prepare the plan, or to set up and manage the museum. In the 1950s, a group of people was formed in Ribnica who shared a common interest in preserving the heritage, their final aim being to establish the museum. As has been mentioned before, even during the time he spent in Idrija, Trošt kept in close contact with Ribnica and it was no coincidence that it was him who was asked to prepare a preliminary preparations plan for the foundation of the museum. Trošt drew up the plan on 12 January 195A. Between 1953 and 195A, the then municipal people's committee ordered a plan for the set-up of the castle and the surrounding area within the limits of the existing castle walls. Trošt was submitted these documents for inspection, however because only two rooms had been envisaged for the museum, he did not agree with the plans and wrote to Anton Mihelič, the then secretary of the municipal people's committee, rejecting the plans.^"- On 26 February 1956, the Ribnica Section was established as part of the District Museum Society of Kočevje. The need for Trošt to return and to participate in museum preparations was ever-growing. In June 1956, a delegation of a few influential local politicians made their way to Idrija to persuade Trošt to choose Ribnica as his permanent place of residence now that he was retired; they wanted him to be in charge of preparations for the foundation of the museum and to »help with culture- and education-related matters and to try and solve the unfavourable economic state of the wood cottage industry.«^^ Janko Trošt did return to Ribnica in December 1956; a year later he settled there permanently and started his active involvement in all of the preparation work. However, due to complications regarding a flat that was supposed to be allocated to Trošt, it almost came to a point where Ribnica lost him again. At first he had namely been promised a flat in the new cooperative house, then he agreed to the suggestion to move to a living area located within the castle, but it was then occupied by the chief of the Ribnica police station. In a letter written to his niece on 5 May 1958 he complained: »My new lodgings within the castle have been completed in the past few days. The museum committee member was assured by the municipality that the committee would have free use of the flat. I had already been getting ready to move there in all my glory, when I got a notification that the chief of the local police himself would be moving into the fiat; I didn't even ask whose permission had been given to do so. I felt like throwing all of my clutter, which I have been carrying with me throughout the war and after the war as well, out of the window into the square to put an end to all of this, or else it will never be over.«^^ A few days later, he sent an official letter to the Committee of the Museum Society in Ribnica and explained his position decidedly: »/ agreed to the request /author's comment: to return to Ribnica/ and asked to be provided with two rooms to live in, which I was promised at the time.«^^ He finished off the letter by establishing that the municipality was not sufficiently interested in carrying out the museum project and that »the whole matter was dealt with as if the museum had been intended for me only and for my sole benefit. To avoid any misunderstandings regarding this, I would like to point 32 An ethnography course organized by the National Museum in Ljubljana. He completed the course in 1934. 33 A report on the work of the Museum Society of Kočevje, the Ribnica section, 16 November 1958. Archives of Ribnica Museum. 34 To the board of the Museum Society in Ribnica. Janko Trošt, 8 May 1958. Archives of Ribnica Museum. 35 Family correspondence, dated 5 May 1958. The Trošt Korenčan family archives. 36 To the board of the Museum Society in Ribnica. Janko Trošt, 8 May 1958. Archives of Ribnica Museum. 37 Ibid. out that this is a matter of a cultural institution of great importance- if Ribnica aims to preserve its old reputation in the world of culture. I am personally convinced that Ribnica really needs the museum -because of characteristic ethnography of this area, which is already declining, and must not be owned by Ribnica only, but by the entire Slovene nation as it is an important part of it. However, for the above-mentioned reasons, I am unable to personally participate under the present living conditions in such cramped circumstances.«^^ Following these complications, the municipality assigned him a room in Kolodvorska Street and later he permanently moved into the cooperative house, where a somewhat larger living area was at his disposal. After these initial misunderstandings, things calmed down and progress was made relatively quickly. On 11 August 1958, the Ribnica Museum was established as a budgetary institution of the Municipal People's Committee Ribnica, which was passed during a joint meeting of both assemblies; a five-member managing board was also appointed - it consisted of Janko Trost, who was at the same time also chosen to be the museum manager, as well as Franjo Matoh, Dušan Lavrič, Franc Železnik and Krošnjarji gredo na pot, 1964, ^ano in barvano na les Peddlers setting off, 1964, burnt and coloured on mod Jože Grebene. A written order about the establishment of the museum was issued on 16 February 1959, the provided argument being that the town of Ribnica had a long-standing history and that this was the reason why it had been well-known all over the country as well as outside of its borders. In the autumn of 1958, the Ribnica Section gained independence and became an autonomous Museum Society of Ribnica. The Founding General Assembly of the society was convened on 17 November 1958 and was attended by 120 people.^' 38 The Society was registered on 24 April 1959; at the same time, the rules of the Society were officially approved - consent was given by the Society of Museum Workers and Conservators of People's Republic of Slovenia. 39 Minutes of the 4th regular meeting of the management and the supevisory board of the Museum Society. 28 May 1959. Archives of Ribnica Museum. Trost established contact with the Bureau for the Renovation of the Old Town of Ljubljana and asked for the assistance and cooperation of its head, the architecture engineer Ciril Tavčar. After an initial examination, Tavčar made the necessary drawings for the castle renovation, while the architect Janko Hren drew the required plans and the details, which were also approved by the Institute for the Protection of Cultural Monuments of the People's Republic of Slovenia. The envisaged museum would require more space for its activities - the reason being that the subject matter of exhibitions was diverse, and what was also needed was a specialized library, an area for storing museum items and a restoration room. According to the minutes of the Ath regular meeting of the management and the supervisory board of the Museum Society of Ribnica, a decision was reached »/.../ that premises need to be found urgently where collected items could be stored, restored and fitted temporarily.«^" Throughout this period, Trost was in charge of collecting items in the villages of the then municipality of Ribnica, he organized a lecture on the significance of the museum and also paid visits to makers himself to obtain more valuable objects for the museum collection. The initial museum project had been more extensive, a presentation of the life in this region in its entirety had namely been planned, as well as of all different sorts of crafts and trades (fur trade, leather trade, shoemaking, etc.), with emphasis as expected to be placed on the most typical of trades/crafts of Ribnica, i.e. wooden ware making and pottery. Even though the castle renovation took longer than expected and the official opening of the first museum exhibition Wooden Ware and Pottery happened later than planned in 1961, it was a very festive occasion. It took place as part of the first Ribnica Festival and was its most important event."-^ The foundation of the museum and the organization of the exhibition were Trost's last large-scale independent projects. He was very proud of the museum, although he would often complain that due to lack of space it was impossible to even present the wooden ware and pottery fields the way they should have been, still less any other subjects. He took care of the museum in accordance with all professional guidelines and in doing so he worked with the relevant national institutions. In 1968, on 18 May, the International Museum Day, he invited wooden ware makers and potters to present the »living heritage« of Ribnica in the hall of the castle. The response to the event was very positive and one cannot neglect to mention that the events he organized in a way paved the path for the later ethnological tourist event the Ribnica Fair, which took place for the first time a year after he had died. Conclusion Even today his collection still serves as a basis for the Ribnica museum, and the same goes for his exhibition, which was for the first time renovated in 2001. It is a great shame that not more of his different records and writings have been preserved, however some of them might still be discovered in the future, which was the case with his records on Ribnica and its people that will be published in written form in the coming year. No matter where Janko Trost was active, he never failed to leave behind some guidelines that could be followed even in the present day. In spite of all the problems, he never really hated Ribnica, it was 40 It might be interesting to know that a municipal bullettin was published in 1961 for the first time; it was called The Sieve (Rešeto) and three issues were published. For the first one, Trošt prepared a contribution with the title The Significance of the Ethnography Museum in Ribnica, and for the third issue, which was published at the time of the first Ribnica Festival and the official opening of the museum, he wrote the contribution Retrospectives. 41 Sattler, Miran: Znanec iz sosednje ulice. Janko Trošt. / An Acquaintance from the Neighbouring Street. In: Nedeljski dnevnik. No. 227/VII (1970), p. 5. his home: »/ eternalized this world and these places because I have grown fond of them and have also grown together with them.«''^ Regardless of everything, Janko Trost always was and always remained an educator; he viewed the world through the eyes of a teacher and as such he educated people about the puppets, the nature, the carpentry, pottery, the heritage as well as souvenir-making. His infinite enthusiasm and pedagogic talent left a big impact on Ribnica and got under people's skin. His pedagogical approach made people aware of and familiar with everything he got his hands on. His burnt-wood and coloured pictures depicting »the little people of Ribnica« adorned the walls of the Kaprol Inn in Sodražica, as well as Cene's Inn in Ribnica. He depicted the local townspeople in caricatures that were hanging on the walls of inns at Pakiž and Cene's. His work can still be seen hanging at Pildar's and Ulčar's Inns in Ribnica. He spent the final years of his life in Ribnica in his flat in the cooperative house. He was unable to walk because of his illness. He was left with nothing but memories of the days when he had still been able to explore this landscape, spend time at St. Mark's Church above Zapotok or ski down the slopes of the hills of Velika gora; in the evenings he would sit at Cene's inn in the company of lively hunters who had just come back from hunting, or he would take part in a session of the local "parliament" at Pakif's Inn with the other 'kapišoni' to solve the latest burning issues. No matter how serious discussions were, sooner or later »every serious matter would be looked at from the funny side; everyone would pepper it with witticisms or crack a joke, found a similar or even more caustic remark; the most entertaining part of the session was on and nobody wanted to fall behind, so more and more cracking jokes would be told. Of course, the freedom of speech was provided both to those who spoke in favour of something as well as those who held opposing opinions.«*^ He died in Ljubljana. It was Prof. Janez Debeljak who bid farewell to him at the funeral on behalf of all the people of Ribnica. ^„^g „^ smučanju. Although he has been gone a long time, there is ' '"P- still a lot of respect left for Janko Trost. People remember him as a strict person, however many teachers were strict but only few have left behind such a legacy. At the end of the day, this strict teacher was more than anything else a person who devoted the largest part of his heart to Ribnica and its people. 42 Trošt, Janko: Ribniški parlament. / Ribnica Parliament. In: Zapiski o Ribnici in Ribničanih. Preserved as a copy. » The deer are grazing in the morning and evening dew, deep in the valley you can hear the sound of stags in rut, in the winter a wolf is howling along with the bora, a wild boar is giving you a wide berth in the thicket, a wood grouse is singing its spring song and herons are bowing to you in the marshes. You are walking along soft paths at the edge of the woods, the sky is shining above you, the mountains are glowing from far away. In the winter you are skiing down infinite slopes of Velika gora towards Bloke, the cradle of skiing. You do not feel the tiredness crawling up your legs, you feel warmth in your heart, you have just caught a glimpse of a new unknown world, which seems to be strangely familiar unlike the well-known resorts where you miss this familiarity so much. Peddlers get to hear a lot of things travelling around the world, and see even more. And what they feel is right and appropriate, they love using it on their native soil. The Ribnica valley is waking up from the narrow-mindedness that has been present so far It is well aware of a new time coming, a more fierce one and of greater importance for the future; the valley knows that a new age of growth and general progress is already hard at knocking on the door«^^ V" f' I ■ T ■ -J. Motiv iz Ribnice. Pogled na trg Ribnica s kočevske strani, A scene from Ribnica. ^ view of the Ribnica Square from the direction of 'e, » 43 Trošt, Janko: Pri zdomarjih. / At Peddlers'. In: Dolenjska. Ljubljana 1938, p. 171. Sources and references: Bajc, Marija: Bibliografija Iva Trošta. Undegraduate thesis. Faculty of Arts, Department of Library and Information Science. Ljubljana 1992. Dolenjski list (23 January 1969). Delo (18 January 1974), p. 12. Dolenjski list (13 February 1964). Dolenjski list (23 January 1969). Dolenjski list (17 January 1974). Dolenjska. Ljubljana 1938. Les. Revija za lesno gospodarstvo. No. 2 (1960). Higher primary school in Ribnica. Dr France Prešeren primary school, Ribnica 2006. Mikužev zbornik. Ljubljana 1999 Primorski biografski leksikon (Vol. IV). Goriška Mohorjeva družba. Gorica 1990-1994. Rešeto. Občasni glasnik Ribniške komune. No. 1 (1961). Rešeto. Občasni glasnik Ribniške komune. No. 3 (1961). Razori. List za odraslo mladino. Vol. I., March (1933). Razori. List za odraslo mladino. Vol. I., April (1933). Razori. List za odraslo mladino. Vol. I., May (1933). Razori. List za odraslo mladino. Vol. I., June (1933). Razori. List za odraslo mladino. Vol. II., January (1934). Razori. List za odraslo mladino. Vol. II., May (1934). Razori. List za odraslo mladino. Vol. III., February (1935). Razori. List za odraslo mladino. Vol. VIII., No. 3 (1939/1940) Slovenski biografski leksikon. Volume No. 12. SAZU, Ljubljana 1980. Slovenski etnograf. Vol. III-IV (1951). Turistični vestnik. Strokovni časopis za turizem in gostinstvo. No. 8(1958). Turistični vestnik. Strokovni časopis za turizem in gostinstvo. No. 1 (1960). Trošt, Janko: Zapisi o Ribnici in Ribničanih, a preserved copy. Zaveza. Glasilo nove slovenske zaveze. Vol. X, No. 4. Archives of the Ribnica Museum. Archives of the Heritage Information and Documentation Centre, Ministry of Culture. Family archives of Trošt Korenčan family. Historical Archives Ljubljana. Chronicle of the Higher Primary School (1919-1945). http://www.dlib.si/preview/URN:NBN:SI:doc-C0HF6L2l Janko Hren. Interview 2011. Jože Centa. Interview 2009. Stanislava and Andrej Trošt Korenčan. Interview 2011. Ribnica: Johan 's garden, tempera, paper 1 < ^ .:3 Skafar, 1953, olje, lesonit 'Škafar', a tub maker, 1953, oil, hardboard IDRIJSKO OBDOBJE Muzejski svetovalec, Darko Viler, prof. MESTNI MUZEJ IDRIJA Muzej za Idrijsko in Cerkljansko V 16. snopiču Primorskega slovenskega biografskega leksikona iz leta 1990 je avtor prispevka o Janku Troštu zapisal, da je bil zaradi spora z Občinskim ljudskim odborom Kočevje leta 19A6 odpuščen iz službe in seje po rehabilitaciji leta 19A8 preselil v Idrijo, kjer je poučeval kot učitelj na nižji gimnaziji do upokojitve leta 1951. Srečko Logar, prvi ravnatelj Mestnega muzeja Idrija, je v svojem članku Problemi našega muzeja napisal, daje mogoče iz rudniškega arhiva razbrati, da seje ideja o ustanovitvi muzeja v Idriji porodila že leta 1822, vendar ni naletela na razumevanje oblasti na Dunaju. Prav tako naj bi že leta 1911 pri rudniku obstajala manjša zbirka predmetov, ki bi lahko služila kot osnova prihodnjemu muzeju. Tudi italijanska oblast ni bila naklonjena ideji o ustanovitvi muzeja. Z muzejskimi predmeti iz Idrije je raje bogatila svoje zbirke v notranjosti države. Kmalu po koncu druge svetovne vojne je ponovno oživela ideja o ustanovitvi muzeja v Idriji. Prva seja pripravljalnega odbora za ustanovitev idrijskega muzeja je bila sklicana 26.6.1950. Sklicatelj je bil Janko Trošt, ki je bil tedaj predmetni učitelj zemljepisa na nižji gimnaziji in poverjenik Zavoda za zaščito kulturnih spomenikov Ljudske republike Slovenije. Vabljeni so bili predstavnik Občinskega ljudskega odbora Idrija - poverjeništva za prosveto. Mestnega ljudskega odbora Idrija, Rudnika živega srebra, nižje gimnazije, šole učencev v gospodarstvu in Zveze borcev za idrijski okraj. Na sestanku so si razdelili naloge, kdo bo vodil oziroma bo odgovoren za zbiranje predmetov, fotografij in dokumentov po posameznih temah. Janko Trošt je bil zadolžen za zbiranje etnološkega gradiva. Sem je sodilo zbiranje predmetov notranje opreme, gospodarskega orodja, oblačil, noš, fotografij in zbiranje podatkov o rudarski hiši, razvoju čipkarstva in domačih obrti v idrijskem okraju. Na tem sestanku so tudi sklenili, da bodo v najkrajšem času poiskali primerno zgradbo oziroma prostore za prihodnje muzejske postavitve. Dogovorili so se tudi, da bodo vsi prisotni stopili v stik z domačini, da bi pridobili čim več muzejskega gradiva. Na sestanku so izvolili Janka Trošta za predsednika pripravljalnega odbora za ustanovitev muzeja. Srečka Logarja za tajnika, blagajničarka je postala Fanči Kenda, člani pa so bili Hubert Fröhlich, Anton Jager, Marija Puc, Lojze Kavčič, Jože Krapež in Ivan Turk. Pripravljalni odbor je že istega leta od Rudnika živega srebra prejel popis predmetov tehniške dediščine oziroma rudniških strojev in naprav, ki so bile locirane v jaških Delo, Borba, Inzaghi, prebiralnici, topilnici, elektrocentrali mesta, elektrostrojnem obratu in rudniški mizarski delavnici. 8. maja 1951 je bil ustanovljen muzejski odbor v naslednji sestavi: predsednik Janko Trošt, tajnik Srečko Logar, blagajnik Lojze Kavčič in člani Zinka Turk, Hubert Fröhlich, Albin Koželj in Stanko Murovec. Na podlagi popisa starih strojev, naprav in ostalih predmetov, ki bi sodili v idrijski muzej, je muzejski odbor zaprosil upravo rudnika, naj s predmeti ravna kar se da previdno in sproti obvešča odbor o morebitni demontaži ali odstranitvi kakšnega stroja. Prav tako bo vse predmete s seznama pregledala strokovna komisija, ki bo določila, kaj bo sodilo v tehniški oddelek muzeja. Prizadevanja članov muzejskega odbora so naposled obrodila sadove, saj je Ljudski odbor mestne občine Idrija na predlog Sveta za prosveto Vlade LRS 21. januarja 1953 izdal odločbo o ustanovitvi ustanove s samostojnim financiranjem, ki se imenuje Mestni muzej Idrija. Janko Trošt je kljub upokojitvi ostal v Idriji še vse do konca leta 1956. Profesor Tomaž Pavšič - nekdanji konzul Republike Slovenije v Trstu, muzejski kustos in slavist - je bil v času službovanja Janka Trošta na idrijski nižji realki njegov dijak. Spominja se, da je pri poučevanju zemljepisa snov podajal s pravim pedagoškim žarom, da je imel ogromno znanja in je dijakom poleg snovi, ki je bila v učnem programu, povedal še marsikaj zanimivega, kar ne bi izvedeli nikjer drugje, skratka, mladim nadobudnežem seje zdel pravi veleum. Kot predsednik pripravljalnega in kasneje muzejskega odbora seje aktivno vključeval v proučevanje idrijske zgodovine z zbiranjem in evidentiranjem knjig, dokumentov in predmetov, ki so postali osnova za vse kasnejše muzejske zbirke. Kljub temu daje v Idriji preživel le slabih osem let, je s svojim delom zapustil neizbrisen pečat. Njegove zgodovinske slike, ki so naslikane v tehniki olje na salonit, predstavljajo znamenitega škafarja, ki je slučajno odkril živo srebro, kuhanje oglja v idrijskih gozdovih, žganje živosrebrove rude v kopah v 16. stoletju, rudarje pri delu, grablje za lovljenje lesa v Idriji, lesene drče, starejše in novejše klavže na Idrijci, tovornike živega srebra, staro gozdarsko šolo, kripto sv. Barbare in Mestni trg v središču Idrije. Zanimiv je tudi model vodnih zapornic klavž na Idrijci, ki prikazuje zgradbo in delovanje pregrade. Model vsebuje pogled od spredaj, zadaj, vzdolžni vodoravni prerez, vzdolžni navpični prerez, prečni navpični prerez in način odpiranja vrat, narejen v merilu 1:100. Vsa navedena dela so nastala v 50-ih letih 20. stoletja in večina je razstavljenih na stalni razstavi Mestnega muzeja Idrija »Petsto let rudnika živega srebra in mesta Idrija«. Najpomembnejše pisno delo Janka Trošta iz časa njegovega življenja v Idriji je nedvomno knjižica z naslovom Idrija, naše najstarejše rudarsko mesto: poljuden priročnik za izletnike, turiste in domačine. Brošuro, ki obsega devetinštirideset strani, je leta 1953 izdal Mestni muzej Idrija. Avtor se je v delu sprehodil skozi geološko zgradbo rudišča, seznanilje bralce z geografskim položajem mesta, opisal vse izletniške točke v bližnji okolici Idrije, posebno pozornost je namenil zgodovini rudnika in njegovemu delovanju, predstavil je občino in njene organe, šolsko in gledališko tradicijo, kulturno-prosvetne, politične in strokovne ustanove, posebno poglavje pa je namenil tudi idrijski čipki, spomnil se je na osemindvajset pomembnih idrijskih rojakov, od politika dr. Aleša Beblerja do škofa Alojzija Wolfa. Med pomembnimi prišleki, ki so pustili v Idriji svoj pečat, je izpostavil deset oseb, med katerimi ni pozabil omeniti slavnega rudniškega zdravnika in botanika Scopolija ter dekana in pisca knjige Zgodovine /c/r//e Mihaela Arka. Janko Trošt je v publikaciji napisal tudi telefonske številke podjetij, ustanov in celo zasebni telefon zdravnika Antona Novaka, omenil je mestne predele od Brusovš do Žabje vasi, napisal je najpomembnejšo literaturo o rudniku in mestu Idrija, na koncu pa je pridal še načrt mesta z vpisanimi predeli in s posebej označenimi najpomembnejšimi stavbami. O muzeju pa je napisal: »Mestni muzej Idrija naj bo slehernemu Idrijčanu domovinska skrb in dolžnost, da bo z vso ljubeznijo iskal in poizvedoval za predmeti, ki ga vežejo s preteklostjo in so sestavni drobci idrijske zgodovine. S tem delom bo samo pomagal odgrinjati megleni zastor prošlih stoletij, ki so sedanjo Idrijo izoblikovala. S predmeti, zbranimi v muzeju, pa bo domača zgodovina znova zaživela, nam in prihodnjim rodovom v čast in ponos.« -TV-v ^ n I — - If* ' r »i .'^-T 'f Motiv Idrije. Ulica sv. Barbare rudniškim maga:^nom, 1950, akvarel A scene front Idrija. St. Barbara's Street with the mine storehouse, 1950, watercokur i p « f - I — * P f_r; r \ ' 'V Motiv iz Mrije: Selstev -^ scene from Idrija: Selstev - '. stoletja, 1952, akvarel ija mine in mid-18th century, 1952, watercobur THE IDRIJA PERIOD Prof. Darko ViLer, museum consultant THE IDRIJA MUNICIPAL MUSEUM - A Museum of the Idrija and Cerkno Regions In instalment No. 16 of the Slovene Biographical Lexicon of the Primorska Region from the year 1990, the author of the contribution on Janko Trost wrote that on account of a dispute with the Municipal People's Committee of Kočevje, Trost was in 19A6 dismissed from his job; after rehabilitation in 19A8 Trost moved to Idrija, where he worked as a high school teacher until his retirement in 1951. In his article The Problems of Our Museum, Srečko Logar, the first head of the Idrija Municipal Museum, wrote that the archives of the mercury mine gave reason to believe that the idea to establish a museum in Idrija had already been born back in 1822, however the authorities in Vienna were not particularly fond of it. Also, in 1911, the mine supposedly already owned a rather small collection of items, which could have served as a basis for the future museum. The Italian authorities were neither particularly inclined towards the idea to set up the museum, instead they preferred to use the museum items from Idrija to enrich the collections in the country's interior. Not long after the end of the Second World War, the idea to establish a museum in Idrija was again brought to life. The first meeting of the Preparatory Committee for the Establishment of the Idrija Museum was convened on 26.6.1950 by Janko Trost, who was at the time a high school teacher of geography and a trustee of the Institute for the Protection of Cultural Monuments of the People's Republic of Slovenia. The following people were invited to attend the meeting: representatives of the Municipal People's Committee of Idrija - the Education Board, the Municipal People's Committee Idrija, the Mercury Mine, the high school, schools of pupils within the enterprise sector and the Association of National Liberation War Veterans of the Idrija district. Duties were shared out in the meeting and it was arranged who would be responsible for collecting items, photographs and documents by individual topics. Janko Trost was in charge of collecting the ethnological materials, which included interior fittings, farming tools, clothing, national costumes, photographs and collecting information about the mine house, the development of lace-making and the cottage industry in the Idrija district. It was agreed that a suitable building or premises for the future museum exhibitions needed to be found as soon as possible. It was also arranged that everyone present in the meeting would get in touch with the local people with the aim of collecting as many museum materials as possible. In the meeting, Janko Trost was elected the chairman of the Preparatory Committee, Srečko Logar its secretary, Fanči Kenda its treasurer, while its members were Hubert Fröhlich, Anton Jager, Marija Puc, Lojze Kavčič, Jože Krapež and Ivan Turk. The same year, the Committee was by the Mercury Mine provided with an inventory of items that were part of the technical heritage, i.e. mining machines and devices located in the Delo, Borba, Inzaghi mineshafts, in the separation plant, the smeltery plant, the town's power station, the electromechanical plant and the joiner's workshop part of the mine. On 8. 5.1951, the Museum Committee was established and was comprised of the following members: the chairman Janko Trost, the secretary Srečko Logar, the treasurer Lojze Kavčič and members Zinka Turk, Hubert Fröhlich, Albin Koželj and Stanko Murovec. Based on the inventory of old machines, devices and other items that could be exhibited in the Idrija Museum, the Committee appealed to the management of the mine to treat the items as carefully as possible and to inform the Committee regularly if any of the machines would be dismantled or removed. Also, all of the items from the list were supposed to be inspected by an expert commission that would then determine what would be included in the technical department of the museum. The endeavours of the Museum Committee members finally bore fruit: following a proposal of the Education Council of the People's Republic of Slovenia, the People's Committee of the Municipality of Idrija on 21. 1. 1953 issued on order to establish an independently-financed institution with the name the Idrija Municipal Museum. In spite of his retirement, Janko Trost remained in Idrija up until the end of the year 1956. Professor Tomaž Pavšič, a former consul of the Republic of Slovenia in Trieste, a museum curator and expert in Slavic studies, was Janko Trost's student at the high school in Idrija. Pavšič recalls that during geography lessons Janko Trost would explain things with proper pedagogical enthusiasm, that he had an enormous amount of knowledge, that he would often tell students all of sorts of interesting things that were not in the curriculum which they would not have learnt anywhere else; to sum it up, to the young enthusiastic students Trost seemed a man of genius. As the chairman of what was at the beginning the Preparatory Committee and later the Museum Committee, Trost was actively involved in studying the history of Idrija and collecting and keeping records of books, documents and items that served as a basis for the future museum collections. Idrija: Mestni trg, 1953, olje, lesonit Idrija: Town square, 1953, oil, hardboard Even though Trost spent less than eight years in Idrija, he left a big impact with the work he did. His historical paintings painted in the oil-on-cement technique depict a well-known 'škafar', a tub maker, who accidentally discovered mercury, charcoal burning in the woods of Idrija, mercury ore burning in charcoal piles in the l6th century, miners doing their work, rakes for getting hold of timber, wooden timber chutes, older and newer barrages on the River Idrijca, mercury transporters, the old forestry school, the St. Barbara crypt and the Town Square in the centre of Idrija. Another interesting thing is a model of water barrages on the River Idrijca, which presents the construction and operation of the barrier. The model includes views from the front and the back, a longitudinal horizontal section, a longitudinal vertical section, a transverse vertical section and the gate-opening technique, made in a scale of 1:100. All the above mentioned works were created in the 1950s and most of them are exhibited as part of the permanent exhibition of the Idrija Municipal Museum »Five Hundred Years of the Mercury Mine and the town of Idrija«. The most important work Janko Trost wrote during the time he spent in Idrija is without a doubt a booklet with the title Idrija, the Oldest Mining Town: a Popular Handbook for Day Trippers and Locals. The A9-page brochure was published by the Idrija Municipal Museum in 1953. In the booklet, Trost wrote about the geological composition of the ore deposit, made the readers familiar with geographical position of the town, described all of the excursion spots in the area surrounding Idrija, devoted special attention to the history of the mine and its operation, presented the municipality and its bodies, the school- and theatre-related tradition, cultural-educational, political and professional institutions, and devoted a special chapter to the famous Idrija lace. He mentioned twenty-eight important fellow-residents of Idrija, including the politician Dr. Aleš Bebler and the bishop Alojzij Wolf. He made special mention of ten people - newcomers who made a big impact on Idrija, including the famous mine doctor and botanists Scopoli, as well as Mihael Arko, the dean and author of the book The History of Idrija. Trošt also included the telephone numbers of companies, institutions and even the private number of Anton Novak, MD; he mentioned some parts of the town, from Brusovše to Žabja vas; he listed the most important literary sources about the mine and the town of Idrija, and in the final part he also added a map of the town with its different parts and specially marked important town buildings. The following is what he wrote about the museum: »Every single resident of Idrija should regard the Idrija Municipal Museum with patriotic care and should consider it his/her obligation to put a lot of love into searching for items that represent a connection with the past and are an integral part of the history of Idrija. By doing so, he/she will help uncover the foggy curtain of the past centuries that shaped the present-day Idrija. Items collected in the museum will bring the local history back to life -to the honour and pride of all of us and the future generations.« Spodnja Idrija, 1948, akvarel Spodnja Idrija, 1948, watercokur — Flajštranje v Ribnid, 1931, tempera, papir Paving in Ribnica, 1931, tempera, paper Janiio Trost m njecova LiKovna zapuščina Nadja Kovačič, kustosinja Pokrajinski muzej Kočevje Ob pregledovanju likovne zapuščine kulturnika, mecena in likovnega ustvarjalca Janka Trošta, kije Ribničanom ostal v spominu predvsem kot ravnatelj in učitelj, se nehote poraja vprašanje, od kod njegova neizmerna energija za vse dejavnosti. Od kod neumoren duh, ustvarjalnost in zavzetost, ki se kažejo v njegovih likovnih delih? Janko Trošt se je vseh stvari v življenju lotil vsestransko in enako se je lotil tudi likovnega ustvarjanja. Preizkušal je različne slikarske tehnike na različnih slikarskih podlagah in prav tako seje preizkušal v podajanju različnih motivov. V njegovih delih se zrcali tudi želja po ohranjanju dediščine, kar lahko vidimo predvsem v številnih akvarelih, ki izrisujejo že davno izgubljeno podobo Ribnice in Idrije, ter akvarelih in risbah kočevskih cerkva, ki so že izginile s kočevske pokrajine. Predvsem se dediščina ohranja z žganimi slikami na lesu, z žanrskimi prizori suhorobarjev, ki svoje izdelke ponujajo mimoidočim in jih vabijo s šaljivimi zgodbami, s podobami krošnjarjev, ki imajo oprtane težke krošnje, a so še vedno zadovoljno navihani Ribničanje, s prizori obrtniških delavnic, kjer predstavlja različne obrti - od obodarstva, podnarstva, pletarstva do lončarstva in steklarstva. Janko Trošt je obrtnika in njegovo dejavnost predstavil v delavnici in ga ujel pri delu ali pa je upodobil že gotove izdelke in obrtnika, ki te izdelke tovori na konju ali jih nosi v košu prodajat na sejem. Tu lahko opazujemo tudi notranjosti kmečkih hiš in noš, značilnih za okolje, kjer so izdelki nastajali. Zagotovo so zanimivi zgodovinski prizori, ki jih je ustvaril na podlagi starejših predlog ali zgodovinskih podatkov. Tem je dodal like iz vsakdanjega življenja, da so prizori postali bolj resnični. Med takšne zgodovinske podobe sodi serija slik iz časa po drugi svetovni vojni, ko je bil Janko Trošt premeščen v Idrijo. Podobno kot pri prikazu ribniških obrti in obrtnikov je tudi v idrijskem ciklu predstavil različna obdobja idrijske zgodovine in različne dejavnosti: od prizorov kuhanja oglja, žganja rude, klavž na Idrijci, spravila lesa ter odkritja živega srebra in pridobivanja le-tega. K zgodovinskim prizorom lahko prištejemo tudi podobe gradov, ki so nastajale na podlagi risb in grafik ]. V. Valvasorja. Med drugim je upodobil turjaški grad, grad v Ribnici, grad na Bregu in kočevski grad iz 17. stoletja. Podobe je dopolnil z osnovnimi podatki o nastanku gradu, lastnikih in namembnosti. Tako ribniški kakor idrijski zgodovinski prizori so nastajali kot neke vrste pedagoški pripomočki za lažje razumevanje zgodovine, življenja in navad prebivalcev. Upodobitve je uporabil kot del muzejske opreme v Ribnici in Idriji. V obsežnem likovnem opusu Janka Trošta zagotovo posebno mesto zasedajo karikature, ki so nastale v tridesetih letih 20. stoletja. Številčno niso bogato zastopane, se pa v njih zrcali značaj Janka Trošta, karakter upodobljenca, predvsem pa avtorjeva ljubezen do tovrstnega upodabljanja. Velik del njegovega zanimanja za karikaturo lahko pripišemo njegovemu zvedavemu značaju, smislu za kritično opazovanje in smislu za satiro. Pomembno je tudi dejstvo, da je Janko Trošt odraščal in se razvijal v času, ko je slovenska karikatura začela doživljati svoj največji razcvet: vse od leta 1869, ko je prišel na prizorišče prvi slovenski satirični list Brencelj, in do začetka 20. stoletja, ko so vzniknili številni časniki in časopisi, ki so želeli posnemati evropski način karikature. Razmah tiskanega medija je zaradi hitre in ugodne izdelave postal dostopnejši, karikatura pa je s svojo preprosto podobo nagovorila tudi nepismene. Močan zgled evropskim karikaturistom in satiričnim časopisom je bila francoska karikatura, ki je veljala za vodilno in najbolj razvito. Tudi v slovenskem prostoru so želeli založniki posnemati francoske satirične liste, vendar pri nas ni bilo mogoče najti primernih karikaturistov, ki bi si drznili komentirati aktualne dogodke na političnem in družbenem prizorišču. Prav tako niso bili tehnično toliko izučeni in podkovani, da bi se lahko kosali z že uveljavljenimi evropskimi karikaturisti. Do spremembe je prišlo v začetku 20. stoletja, ko so na prizorišče stopili številni slovenski slikarji in umetniki, ki so se začeli s karikaturo ukvarjati predvsem po vrnitvi s študija na Dunaju. Med temi, ki so spremenili in močno vplivali na razvoj slovenske karikature, so bili člani akademskega kluba Vesna: Hinko Smrekar, Maksim Gaspari, Gvido Birolla in tudi France Podrekar. Predvsem je bil Hinko Smrekar tisti, ki je slovensko karikaturo povzdignil na višjo raven in tako postal vzor številnim profesionalnim in amaterskim karikaturistom. Najverjetneje je Janko Trošt dobro poznal karikature tako imenovanih Vesnanov, ki so bili zaslužni za preporod slovenske karikature. Verjetno je tudi, da se je Trošt z deli Hinka Smrekarja, Maksima Gasparija in drugih seznanil posredno preko kiparja Svitoslava Peruzzija in njegove sestre v Ljubljani, pri kateri je za časa svojega šolanja bival. Peruzzi, ki ga lahko najdemo tudi na nekaterih karikaturah Hinka Smrekarja, je bil dober prijatelj in sodobnik slikarjev slovenske moderne. Zanimanje Janka Trošta za aktualno politično in vsakdanje dogajanje je bilo veliko. Vse dogodke je znal tudi kritično presojati. Karikature so tiste, ki zrcalijo Troštov smisel za humor, smisel za opazovanje ribniških tržanov in kapišonov, smisel za spremljanje aktualnih političnih dogodkov in trških razprtij. Janka Trošta mnogi opisujejo kot strogega in neizprosnega učitelja, zelo marljivega, predvsem pa kritičnega, kar seje še posebno pokazalo pri njegovih karikaturah, saj so le-te neposredne in zbadljive. Prav tako so karikature tiste, ki pokažejo na Trošta kot izvrstnega opazovalca okolja in ljudi. Pokaže se njegov izjemen čut za odkrivanje karakternih lastnosti posameznikov. Tako kot ob prebiranju njegovih anekdot lahko tudi v njegovih karikaturah prepoznavamo znane ribniške veljake, kijih začini s pregovorno ribniško hudomušnostjo, skopostjo, zbadljivostjo in iznajdljivostjo. Verjetno ni naključje, da so karikature Janka Trošta nastajale v času njegovega predvojnega bivanja v Ribnici. Že samo okolje mu je bila dovolj velika inspiracija za nastanek karikatur in satiričnih podob. Ribnica in Ribničani že pregovorno veljajo za šaljive in hudomušne. Znajo se pošaliti na svoj in še bolj na tuj račun, njihova šegavost pa je še danes znana širom sveta. eft^mnta reforma Značilnost karikature je, da nastane kot odmev oziroma reakcija na dogodek. Le-teh pa v Ribnici ni manjkalo. Janko Trošt se je ukvarjal z dogodki iz ribniškega vsakdana ter opozarjal na njihove napake in pomanjkljivosti. Med zanimivejše zagotovo sodi serija osmih karikatur ministrstev. Od teh je znanih sedem, medtem ko je zadnja do sedaj znana le kot kopija. Pri portretnih karikaturah gre najverjetneje za navezavo na tako imenovani »domači parlament«. Domačini so nadeli ta naziv srečanjem in druženjem Ribničanov v gostilni Pri Pakižu, kjer so razpravljali o perečih temah ribniškega vsakdana. Janko Trošt je upodobljencem pripisal določeno ministrstvo, ki jim je po njegovi presoji najbolj ustrezalo. Karikatura Šume in rude predstavlja Karla Auersperga\ ki s cilindrom na glavi ter z urejenimi brki in bradico zaskrbljeno ogleduje košček rude, kot bi preverjal njeno kakovost. Na njegovi desni strani je jelka, nasajena na podstavek v obliki križa, na njegovi levi strani krava, ki gledalcu kaže zadek. Za Auerspergovim hrbtom pa zadovoljno poplesujejo temnopolte deklice. Agrarno reformo zastopa inženir Anton Rudež st., ki je predstavljen kot dreser z bičem v cirkuški areni, pred njim pa čepijo prašič in dva psa. Vsak prosi za svoj vbogajme. Rudež stoji kot vkopan in ne ve, kaj storiti. Psu je poleg znanega simbola zvestobe pripisana še pretirana suženjska pokornost in klečeplazništvo. Prašič pa je označen za tistega, ki naj ne bi opravljal nobenega koristnega dela in sta mu zato pripisani lenoba in nehvaležnost. Kakorkoli bi se cirkuški dreser odločil, bi dajal potuho priliznjencem in lenuhom. Pravosodje predstavlja sodnik Anton Mejač. Upodobljen je sedeč za mizo in obdan s svetniškim sijem. Zdi se, da nekaj na veliko razlaga in razpravlja. V levici drži kadečo se cigareto, na prst, s katerim žuga, se mu je usedel žužek. Pred njim čepi žaba kot simbol klepetavosti in večnega regljanja. Označuje tiste ljudi, ki ponavljajo prazne marnje in se ustijo kot žabji svatje. Dr. Anton Šifrer, nekdanji zdravnik, predstavlja ministrstvo za zdravstvo. Kot član sokolskega društva je predstavljen v sokolski uniformi. V levi roki za noge drži sokola, ki ima obvezano glavo, v desnici pa drži nož, kot bi ravno končal z operacijskim posegom. Pred njim na mizi so razporejeni zdravniški pripomočki in zdravila za ublažitev morebitne bolečine. Za promet je bil odgovoren Ivan Klun, član nadzornega sveta posojilnice in ribniški župan med leti 193A in 1937. Upodobljen je kot ogromen možakar s premajhnim klobukom in z dolgimi rokami, v katerih drži grebljo za žerjavico in ureja cesto. Za njim stoji smerokaz, ki kaže v smer »na štacjon«. Na smerokazu preteče čepi krokar, pod njim pa se sprehajajo gosi. Trgovino zastopa France Križman - lastnik žage in trgovec z lesom. Upodobljen je z markantnimi štrlečimi brki in na oči poveznjenim klobukom, pod pazduho pa z rokami v žepu prenaša desko. Izza njegovih nog kuka prašiček, bodisi kot simbol sreče, obilja, bogastva bodisi z bolj pomenljivo simboliko požrešnosti in lenobe. Betriani Franc, nekdanji učitelj in šolski nadzornik, je predstavnik prosvete. Posajen je na nizek lesen stol, njegov pogled pa je usmerjen na lutko, ki jo drži v rokah. Zdi se, kot bi bila lutka pobegli joker iz padajočih igralnih kart. Finance predstavlja Filip Peterlin, kije upodobljen kot nedolžen angelček. S polnimi rokami cekinov v mošnjičkih se dviguje nad ribniško opekarno, katere lastnik je. Zbadljive portretne karikature, podkrepljene s simboliko živali, predvsem pa poznavanje zakonitosti portretne karikature, karakterjev portretirancev in poznavanje okoliščin, v katerih so delovali, dokazujejo avtorjevo prodorno in kritično oko. 1 Identifikacija oseb: Franc Lesar s pomočjo Toneta Petka. Trost se je preizkušal tudi v skupinskih karikaturah. Ena takih je hudomušna in šegava podoba, ki prikazuje ribniško folkloro lova na divjad in ima naslov Ribniški jagri^. Na karikaturi prepoznavamo ribniške veljake na poti na lov. Konja, ki vlečeta lojtrnik, sta osedlana in na svojih hrbtih nosita ribniškega lekarnarja Josipa Ančika in ribniškega notarja Cila Picka. Na vozu so eden zraven drugega nagneteni od Ivana Kluna, ki v rokah drži vajeti, do takratnega ribniškega župana Ivana Novaka, ki melanholično puha cigareto. Levo od Kluna z rdečim nosom dremlje Lesar z Mlake, za njim pa veseljači Ivan Arko. Na zadnjem delu voza sedijo še puškar Alojzij Grčar, Janko Picek, ribniški trgovec in posestnik Filip Peterlin, Adi Erhovniz in ribniški učitelj Janez Debeljak. Na levi strani jih kot praporščak z miško, ki jo drži za rep, pozdravlja ribniški strojar Ivan Burgar. Na desni strani »delegacijo« na osedlanem psu spremlja Ivan Novak mL. Za vozom pse kroti ribniški posebnež in gonjač psov Fefr. Iz ozadja se bosta lovu pridružila še Anton Rudež in njegova žena, za njima pa celotno dogajanje izza grmovja radovedno spremljajo gozdne živali. Flajštrajne v Ribnici je zgodovinska karikatura, ki se nanaša na večdesetletno vprašanje o tlakovanju trga. V času, ko je karikatura nastala, trg še ni bil tlakovan. Po dolgoletnih razprtijah in razpravah je bil trg končno tlakovan v petdesetih letih 20. stoletja. Ta problematika je morala Janka Trošta zelo zabavati. Zdi se namreč, da je samega sebe upodobil kot nasmejanega opazovalca s čopičem v roki, ki kuka z okna prvega nadstropja Johanove hiše, pred katero je postavljeno celotno dogajanje. Na vogalnem kamnu stoji, kot bi nekaj razlagaL France Križman s svojimi značilnimi brki in klobukom, pred vhodom v hišo sedi in prebira časopis Jutro, kot da se ne bi nič dogajalo, Johanov oče. Okoli njega se plazijo vnuki, nad njegovo glavo pa v ptičji kletki žvrgoli kanarček. Gostilničarka Uršula Arko z vhoda, nad katerim je napis »Beim die Urschi«, z zvončkom maha proti središču dogajanja. Deček, ki je konja zajahal obrnjen nazaj, v lončen pisker lovi konjske fige, da na novo tlakovana cesta ne bo umazana. V levem spodnjem kotu na tako imenovani »brezposelni klopi« sedijo štirje obilni moški in radovedno opazujejo kaotično dogajanje na križišču. Sredi križišča je počepnil Josip Ančik s stekleničko ricinusa v desnici. Pred njim je nek moški opravil veliko potrebo, osramočen in z rdečimi lici, kot si ne bi mogel pomagati. Sredi ceste je ribnik, v katerem so se že zaredile žabe. Okoli njega so se zbrali ribniški modreci, ki merijo, preračunavajo in se ukvarjajo z vprašanjem, kako rešiti težavo. Prizorišče karikature z naslovom Tu pregajnejne iz krize u Ribenci^ je postavljeno na vogal »Nove posojilne« in prikazuje čas krize med obema vojnama. V začetku tridesetih let 20. stoletja je tudi Jugoslavijo prizadela gospodarska kriza. Mnoga podjetja so začela propadati, kmečki izdelki so izgubljali ceno, kmečki dolgovi so rasli, povečevala seje tudi brezposelnost. Na strehi ribniške Nove posojilne je z žezlom v roki in na prestolu kot Napoleon upodobljen Velikolaščan Ivan Pucelj, ki je leta 1932 prevzel ministrsko funkcijo za socialno politiko in narodno zdravje. Z levo roko se opira na pomanjšano hišo, na kateri je napis »davkarija«. K njemu z vseh koncev plezajo ribniški obrtniki in kapišoni, ki se mu prilizujejo z obveznicami. Na desni strani z vrha drevesa maha kolar France Virant, na robu strehe in v družbi dveh angelov sedi z lovskim rogom v rokah Anton Joras, ki ga prepoznamo po dolgih črnih brkih. Desno od pomanjšane davčne hiše lahko prepoznamo Ivana Arka - Logarjevega, ki je prikazan gol in z angelskimi krili ter kleče z grebljo za žerjavico na rami. Po lestvi se urno vzpenjata France Križman, lastnik žage in trgovec z lesom, in lekarnar Josip Ančik. Filip Peterlin je zaskrbljen omagal že na drugi prečki. Levo od Ivana Puclja na prestolu kleči Ernest Kobler, takratni davčni vodja, z leve pa je po strehi brezskrbno prismučal ribniški sodnik Anton Mejač. Nad glavnim vhodom se nam pogled ustavi na Johanovem očetu (Ivanu Arku), ki prebira časopis Jutro. 2 Identifikacija oseb: Janko Hren in Janez Pirker. 3 Identifikacija oseb: Ivan Pele po pripovedovanju Marjana Grila. Ribniška deputaäja kruha, drv in ^dravja, 1926, tempera, papir The Bread, Wood and Health Dputation of Ribnica, 1926, tempera, paper Družbo mu tako kot vedno dela kanarček v kletki. Pred posojilnico je obstal moški s klobukom in dvema kovčkoma. Zanj se zdi, kot da ga je kriza, ki je tudi v Ameriki povzročila visoko brezposelnost, prignala v domači kraj. Vhod v stavbo krasita dva atlanta, ki nosita težko breme posojilnice. Desni s svojo podobo spominja na Ivana Kluna - člana nadzornega sveta posojilnice, levi vogal pa podpira Emil Pakiž - lastnik gostilne in pletilnice. Na desno stran od vhoda so drug za drugim v spremstvu suhljatega zmaja namenjeni Ribničanje z obvezami čez čeljusti. »K zobarju«, kakor je napisano na smerokazu, mimo hotela in tako imenovane Zajuterkovalnice pod slavolok iz dveh mlajev, na katerem se bohoti napis: »Ajmo, ajmo, vse za krizo dajmo!« Karikatura Ribniška deputacija kruha, drv in zdravja je bila objavljena v Ilustriranem Slovencu leta 1931 in predstavlja srečanje treh ribniških veljakov: Ivana Novaka - ribniškega župana in peka, Franceta Križmana - trgovca z lesom in lastnika žage, ter lekarnarja Josipa Ančika. Najverjetneje pogovor teče o vprašanju vodovoda v Ribnici. Josip Ančik v levi roki drži stekleničko, na katero je navezan listek z napisom »aqua«, z listom v desni roki pa maha proti Ivanu Novaku. Ob tem si Križman le modro gladi svoje dolge brke. Karikatura Ribniški kapišoni v domačem parlamentu je bila objavljena v Ilustriranem Slovencu leta 1931. Dogajanje je postavljeno v gostilno Pri Pakižu, kjer so se srečevali ribniški veljaki in razpravljali o aktualnih vprašanjih v Ribnici. Dogodke iz »slovitega parlamenta, kjer je bil zbran ves razumski in gospodarski cvet suhorobarske prestolnice«, je Janko Trošt večkrat obravnaval tudi v svojih zapisih ribniških prigod in anekdot: »Tu so se zbirali tržani vseh strok in nazorov, tu so se kresale misli in reševala vsa domača in tuja vprašanja. Pri mizi ob peči so lahko sedele samo veličine, za ostale goste tu ni bilo prostora. Tudi prvo besedo so imeli kapišoni pri peči, vsi ostali so sprva le spoštljivo poslušali. Do besede so prišli pozneje, ko jih je ogrelo vino in jim dalo dar govora.«* Janku Troštu sta bila zanimiva tudi ribniška kapišona Marko Burger in Rudi Pirker. Njune pogovore, prepire in prigode prav tako lahko najdemo v Troštovih Zapisih o Ribnici in Ribničanih. Poleg tega se ju loti tudi v karikaturi Od tih nashih kapishonu. Na karikaturi je Trošt upodobil Marka Burgerja kot majhnega možica, ki drži v roki pipo in je pokrit s polhovko, Rudija Pirkerja pa prikaže z dolgimi rokami in nogami. Burger in Pirker drug drugega zbadata glede postave: Pirker je bil visoke rasti z rokami in nogami kakor špageti. Burger pa je bil majhne rasti, s kratkimi nogami na iks. Trošt podobo podkrepi z rimami zapisanimi pod karikaturo. Med Ribničani je Pirker veljal za pregnanega, skopega in stiskaškega, medtem ko je bil Burger poznan kot dobričina. Kljub temu da sta bila po značaju različna, sta bila dobra prijatelja in sta znala shajati drug z drugim. Med do sedaj znanimi originalnimi karikaturami Janka Trošta pa lahko na razglednici najdemo tudi karikaturo Ribniška druhal. Večerno dogajanje je postavljeno na ribniški trg. Sprevod se pomika mimo ribniškega gradu in Miklove hiše proti cerkvi. Sprevod vodi praporščak z lento, na kateri je napis »ribniška druhal«. Na smučeh mu sledijo Ribničani. Od moškega z brki, ki ima okoli vratu obešeno škatlo z napisom »arborin« 'm po kateri udarja s paličicami, do manjšega možica z lento »devičnik«, ki v rokah nosi lilijo, simbol deviškosti. Vsem, ki s svojimi grimasami in kostumi spominjajo na maškarado, sta se pridružila tudi "šparovec" v obliki prašička na smučeh in bel psiček. Nenavadno dogajanje z balkona vogalne hiše opazuje gostilničar in mesar Bregar. Poleg karikatur najdemo elemente satire tudi v Troštovih žanrskih prizorih. Že od antike dalje so za komične like veljali pritlikavci, berači, starke in pijanci. Tem se pridružijo še vaški posebneži, suhljati 4 Trošt, Janko: Ribniški parlament. V: Zapisi o Ribnici in Ribničanih, ohranjeno v prepisu. Ribniškijagri, 1929, tempera, papir The Hunters of Ribnica, 1929, tempera, paper možici ali debeluhi, gostilniški prizori z zadovoljnimi pivci, vaške opravljivke in branjevke. Ravno prizori s sejmov, kjer Ribničanje prodajajo svoje izdelke, so primerni za prepoznavanje satiričnih prizorov. Podobe suhorobarjev, ki s svojimi namazanimi jeziki vabijo gospodinje, te pa se iz ozadja ali zadovoljno muzajo ali nezaupljivo pogledujejo, pri Janku Troštu niso redkost. Omenjene prizore je rad podkrepil z odlomki iz ribniške himne Urban iz Ribnice. Ob opazovanju karikatur Janka Trošta se zdi, da je moralzelo dobro poznati zakonitosti risanja karikature in zakonitosti človeške fiziognomije. Vse to se ne odraža samo v njegovih karikaturah, ampak lahko njegovo poznavanje spremljamo tudi v strokovnih člankih o izdelavi lutk, kjer opisuje, kako na preprost način poudariti karakter nekega lika. Zdi se, da je moral zelo dobro poznati zakonitosti karikature v smislu pretiravanja v pozornost zbujajočih karakternih in telesnih značilnostih posameznika. Predvsem seje rad poigral z znanimi ribniškimi veljaki. V svoje upodobitve je vključil osebni pristop. Želel je osmešiti posameznika, grajati njegova dejanja in odločitve, predvsem pa zabavati občinstvo. Zlasti Ribnica in njeni prebivalci so bili priljubljena tema obravnave Janka Trošta. V karikaturah je prikazal najbolj vidne dogodke ribniške zgodovine. Večkrat se v različnih karikaturah pojavljajo isti liki, ki so bili Janku Troštu karakterno zanimivi, hkrati pa so ga s svojimi prigodami in značajem neizmerno zabavali. Privlačilo ga je okolje, ki je bilo do takrat neraziskano in marsikomu neznano. Predvsem pa so postale predmet Troštove obravnave rokodelske delavnice, obrti in znanja, ki so se prenašala iz roda v rod in jih je po koncu prve svetovne vojne začela izpodrivati mehanizacija. Kakor se je za dediščino zavzemal v svojih spisih in študijah, tako je bil tudi njegov likovni jezik način, s katerim je dediščino in zgodovino krajev, ljudi in njihovih navad, razprtij in dogodkov ohranil vse do danes. Viri in literatura: Germ, Tine: Simbolika živali. Ljubljana 2006. Globočnik, Damir: Kulturnozgodovinske študije. Ljubljana 2009. Globočnik, Damir: Pavliha 1870. Levstikov satirični list. Ljubljana 2010. Razori. List za odraslo mladino. Letnik L, marec (1933). Razori. List za odraslo mladino. Letnik L, april (1933). Razori. List za odraslo mladino. Letnik L, maj (1933). Razori. List za odraslo mladino. Letnik L, junij (1933). Razori. List za odraslo mladino. Letnik M., januar (1934). Razori. List za odraslo mladino. Letnik M., maj (1934). Razori. List za odraslo mladino. Letnik VIN., št. 3 (1939/1940) Trošt, Janko: Zapisi o Ribnici in Ribničanih, ohranjeno v prepisu. Turistični vestnik. Strokovni časopis za turizem in gostinstvo, št. 8 (1958). Turistični vestnik. Strokovni časopis za turizem in gostinstvo, št. 1 (1960). Ustni viri: Janko Hren, Janez Pirker, Ivan Pele, Franc Lesar. Tupregajnejnei^lkri':^ uVdhend, 1932, tempera,papir Chasing Awo] the Crisis in Ribnica, 1932, tempera, paper 11H m 1 ■ ita v evot-M ■ ■i^ei^Kr^piSHorie ftF'I^HOnU _ rseRftftnjKON B, I It-I v UoJ t^Ktt t.)fn. 1 • 190., H' ■■ / 'M v S-MF*, Jd> J^Ji^^- C- Od tih nashih kapishonu, lepljenka On These 'Kapišoni' of Ours, cardboard Janiio Trost ano His Fine Art LecacY Nadja Kovačič, curator Kočevje Regional Museum Looking through the fine art legacy of Janko Trost, a cultural worker, a patron of the arts, a fine artist, as well as a headmaster and teacher mostly known to the local people of Ribnica, a question is posed almost involuntarily about where he drew his immense energy for all of his activities from. Where did his tireless spirit come from, his creativity and enthusiasm reflected in all of his artwork. Janko Trost tackled everything in life in a versatile manner, a quality which is quite obvious in his artwork. Trost likes trying out diverse painting techniques on different painting surfaces (bases) and also likes testing himself in introducing different motifs. His work reflect the aim to preserve the heritage, which is most obvious from his numerous watercolours depicting the images of Ribnica, as well as Idrija, both of which now look far from what they used to in the beginning; there are a number of watercolours and drawings of churches from the Kočevje region, which are no longer there. Trost preserves the heritage mostly through his wood burning pictures, through genre scenes depicting wooden ware peddlers offering their goods to people passing by trying to attract them by telling funny stories, scenes depicting peddlers who are carrying their heavy ware, but are nevertheless jocular and good-humoured, as well as through scenes from artisans' workshops presenting different crafts, such as side-rim making, bottom making, wickerwork, as well as pottery and glazier's trade. He depicts artisans and the work done in their workshops, and also shows finished wares and the artisans transporting them on horses or carrying them in baskets to sell them at trade fairs. The country interior and costumes typical of the environment where goods were created can also be seen. Historical scenes created by Trost on the basis of some older sources or historical data are also of great interest by all means. Trost added some characters taken from the everyday life to make the scenes more realistic. One of such historical images is a series of paintings dating back to the time after the Second World War, when Janko Trost was transferred to Idrija. Similarly to his presentation of crafts and artisans from Ribnica, the Idrija cycle also presents different periods from the history of Idrija and various different activities: there are scenes depicting charcoal burning throughout history, ore burning, barrages (flood dams) on the River Idrijca, timber gathering, discovery and extraction of silver by a so-called 'škafar', a man holding a 'škaf, a bucket. Another part of historical scenes are images of castles based on drawings and graphics by ]. V. Valvasor. Among others, he depicted the castles of Turjak, Ribnica, Breg and Kočevje from the 17th century. He added some basic information about the origin of the castles, the owners and their purpose. Both historical scenes from Ribnica as well as Idrija were created as some sort of pedagogical accessory to make it easier to understand history, life and habits of local people. Trošt also used his depictions as museum exhibits in both towns. A very special place in Janko Trošfs nearly endless artwork opus is undoubtedly held by caricatures, which he created in the 1930s. There are not a large number of them, they do however reflect his personality, the personality of the people depicted, and most of all, the author's love for this sort of creations. His interest in caricature can largely be attributed to his inquisitive personality, his sense of critical observation and his sense of satire. It is of course impossible to ignore the fact that he was growing up and evolving at the time when the golden age of caricature in Slovenia was just starting. From 1869, when the first Slovene satirical paper called Brencelj emerged, and all through the beginning of the 20th century, a number of newspapers started to be published, all aiming to copy the European way of caricature. This was largely owing to the fact that the printed media were truly booming. Due to its fast and affordable production, printing became more accessible, while the caricature with its simple images was also able to address the illiterate people. European caricaturists and satirical newspapers followed the example of the French caricature, which was considered the leading and the best developed of all. In the area today known as Slovenia, publishers likewise aspired to follow the example of French satirical papers. However, it was hereabouts impossible to find suitable caricaturists who would dare to comment on the affairs of current political and social concern. And most of all, they also lacked technical skills and experience to be able to compete with the established European caricaturists. However, this changed in early 20th century, when some Slovene painters and artists emerged, who mostly took up caricature when the returned after having completed their studies in Vienna. Those who largely changed and greatly impacted the development of caricature in Slovenia were members of the academic club Vesna: Hinko Smrekar, Maksim Gaspari, Gvido Birolla and also France Podrekar. Hinko Smrekar was more than anyone else the person to take Slovene caricature to a higher level and thus became a role model for numerous professional and amateur caricaturists. Janko Trošt was most likely well familiar with caricatures created by members of the Vesna club, who take the credit for the revival of caricature in Slovenia. It is likely that Trošt indirectly also became acquainted with the works of Hinko Smrekar, Maksim Gaspari and others through the sculptor Svitoslav Peruzzi and his sister in Ljubljana, who he lived with during his schooling period. Peruzzi, who can be seen on some of caricatures by Hinko Smrekar, was a good friend and a contemporary of painters of the Slovene modernism. Janko Trošt followed the political and everyday events of his time with great interest. He was able to give a critical appraisal of all of the events. His caricatures reflect his sense of humour, his sense of observing the local people, the so-called 'kapišoni', inhabitants of the market town of Ribnica, as well as his sense of following the political affairs of the time and the quarrels going on in the market-town. Quite a few people described him as a strict, fierce and very diligent teacher, and most of all as a highly critical person, which shone through in his caricatures more than anywhere else. They are namely very direct, critical and pungent, and point to Trošt being an excellent observer of the environment and the people. They show his remarkable sense of uncovering the personal characteristics of individual people. Both in his writings as well as his caricatures, influential and well-known people of Ribnica can be recognized; all of it is made even more interesting through the proverbial playfulness of the local Ribnica people, as well as their stinginess, taunting remarks and resourcefulness. Portret, olje, platno Portrait, ml, canvas It is most likely no coincidence that Janko Trost created his caricatures while he was living in Ribnica during the pre-war time. The environment alone was a large enough inspiration for his caricatures and satirical images. The town of Ribnica and its people are proverbially considered to be humorous and waggish. They know how to make fun of themselves, and even more so of other people; their waggishness is well-known worldwide even today. One of characteristics of caricatures is that they are created as a response or a reaction to something that happened, to an event - and in Ribnica there was no shortage of those. Janko Trost dealt with everyday events of Ribnica and thereby pointed out its faults and imperfections. One of the most interesting ones is undoubtedly the series of eight caricatures of ministries, of which seven are known, while one has so far only been known as a copy. These portrait caricatures are most likely about a connection with the so-called »local parliament«. Locals used this expression for meetings and socializing of the local Ribnica people at Pakif's Inn, where they would discuss topical issues of the everyday Ribnica life. Janko Trost linked each of the people he depicted with one of the ministries, which he thought would suit them most.. The caricature with the title The Woods and the Ores presents Karl Auersperg^ with a top hat on his head, a well-trimmed moustache and a beard, who is giving a piece of ore a concerned look as if he was examining its quality. To his right side there is a fir tree planted in a cross-shaped base, and to his left side a cow, her rear facing the observer. Behind Auersperg's back, there are some dark-skinned girls dancing around happily. The Agrarian Reform is represented by the engineer Anton Rudež Sr., who is depicted as a trainer inside a circus arena holding a whip. Right in front of him there are a pig and two dogs crouching and asking for their own alms. Rudež seems stopped dead in his tracks not knowing what to do. The dog is in addition to the well-known symbol of loyalty also ascribed with exaggerated slave-like obedience and grovelling. The pig on the other hand is labelled as someone apparently not doing any useful work and is therefore characterized as being lazy and ungrateful. No matter what kind of decision the trainer would take, he would be making allowances for someone who is ungrateful. A representative of the Judicial System is the judge Anton Mejač. He is shown sitting at a table, surrounded with halo and is seemingly explaining and discussing something enthusiastically. In his left hand he is holding a lit cigarette and there is a bug sitting on one of his fingers, which he is wagging at someone. There is a frog sitting in front of Mejač, representing loquacity and never-ending clattering. It is a symbol of people who are repeatedly full of claptrap and like boasting as if they were frogs who never stop croaking. Dr Anton Šifrer, a former medical doctor, represents the Ministry of Health. As a member of a Sokol movement society he is depicted wearing a Sokol uniform. In his left hand Šifrer is holding a falcon by its feet, the falcon's head bandaged, while in his right hand he is holding a knife as if he had just finished a surgical procedure. At the table in front of him, there are some medical instruments and medicines to ease the pain, should there be any. The Ministry of Transport is the responsibility of Ivan Klun, the mayor of Ribnica and a member of the supervisory board of the loan bank. Klun is depicted as a colossal man, with a hat not large enough on his head, his long arms holding a poker and regulating the flow of traffic. Behind him, there is a signpost showing the way to the station. There is a raven sitting on the signpost and some geese walking right under it. Trade is represented by France Križman, a sawmill and timber-store owner. He is sporting a prominent moustache, a hat put halfway down his face covering his eyes, a wooden board below his armpit and 1 Indentification by Franc Lesar assisted by Tone Petek, 2011. (^^soetcL. Prosveta, risba Education, drawing his hands in the pockets. There is a piglet peeping from behind his legs, either as a symbol of luck, abundance, wealth or a more meaningful symbol of gluttony and laziness. Franc Betriani, a former teacher and school supervisor is in charge of the Education sector. He is sitting on a low wooden stool, his gaze directed towards a puppet, which looks like a joker that has escaped from the falling cards. Finance is represented by Fili Peterlin, depicted as an angel with wings. Peterlin's hands are full of gold coins in small pouches and he is getting on top of the Ribnica bakery, which he is the owner of. Teasing portrait caricatures enhanced with animal symbolism reveal Trost's perspicacity and sense of critical observation, and even more so, his knowledge of the laws of caricature as well as the personalities and circumstances of the people he depicted. Trost also made a go of group caricatures, one of which is a playful, comical image depicting the local deer hunting folklore - its title is The Hunters of Ribnica^. In it, one can recognize some influential residents of Ribnica on their way hunting. The two horses pulling the hay cart are saddled and the local pharmacist Josip Ančik and the local notary are sat on them. Other people sitting next to one another on the overcrowded cart are Ivan Klun holding the reins and the then mayor of Ribnica Ivan Novak, who is melancholically smoking a cigar. Napping to Klun's left, there is the red nosed Lesar from Mlaka, while right behind him there is Ivan Arko, who is having a merry time. Sitting at the back of the cart, there are the gunsmith Alojzij Grčar, Janko Picek, the merchant and land owner from Ribnica Filip Peterlin, Adi Erhovniz, as well the local teacher Janez Debeljak. On the left side there is Ivan Burgar, the local tanner, who looks like a flag-bearer holding a mouse by its tail and greeting everyone. To the right side of the »delegation«, there is Ivan Novak sitting on a saddled dog accompanying the whole group, whereas Fefr, a local codger and dog drover, is curbing the dogs from behind the cart. Anton Rudež and his wife are to join the hunting from the background, while some forest animals are curiously watching what is going what from behind the bushes. Paving in Ribnica, also known as The People of Ribnica Dealing with the Paving Issue, is a historical caricature which has to do with the issue of many years regarding the paving of the square. At the time when the caricature was created the square had not been paved yet. After disputes and discussion at the »local parliament« held at the inn owned by Pakiž which lasted for years, the square finally got paved in the 1950s. Janko Trost must have really been amused by this whole matter. It seems this is the reason why he depicted himself as a smiling observer holding a brush in his hand, peeking from a window from the first floor of Johan's house, where the whole happening was set. France Križman with his typical moustache and hat is standing on the corner stone, it seems he is explaining something, while Johan's father is sitting in front of the entrance to the house, reading the newspaper Jutro (Morning) as if nothing was going on. His grandchildren are crawling around him and a canary is twittering in a birdcage above his head. The innkeeper Uršula Arko is standing at the entrance (there is a sign »Beim die Urschi« - At Urschi's - above it) and waving a small bell towards the centre of the happening. A boy who is sitting on a horse turned backwards is trying to catch horse droppings into a clay pot, as to prevent the newly paved road from getting dirty. In the left bottom corner, sitting on the so-called »unemployed bench«, there are four overweight men, curiously observing the chaotic happening at the crossroads. Josip Ančik is squatting in the middle of the crossroads, holding a bottle of caster oil in his right hand. In front of him, a man has just done number two, he is ashamed and red-faced as if he had been unable to help himself. In the foreground, there is a pond in the middle of the road - frogs have already started breeding in it and there are some local wise men standing around it; they are doing the measurements, calculating and thinking about the way to solve the problem. 2 Indentification by Janko Hren and Janez Pirker, 2004. v i ovina, risba Trade, drawing Chasing Away the Crisis in Ribnica^ is set on the corner of the New Loan Bank and depicts the time of crisis between the two world wars. In early 1930s, Yugoslavia was hit by economic depression, as a result of which companies had to be closed down, the value of farming produce decreased, farm debts increased, as did the unemployment rate. Ivan Pucelj from Velike Lašče, who took over the position of the Ministerof the Social Policy and Public Health in 1932, is sitting on top of the Bank on a throne, like a napoleon with a sceptre in his hand. With his left hand he is leaning on a diminished house, which holds the sign »the tax office«. The local tradesmen and the previously mentioned 'kapišoni' (the townspeople of Ribnica, intellectuals) are climbing on top of the roof from all sides to get to Pucelj, sucking up to him with bonds. On the right hand-side, on top of a tree, there is the wheelwright France Virant waving his hands; sitting on the edge of the roof in the company of two angels, there is Anton Joras, who can be recognized by a long black moustache and is holding a hunting horn. To the right of the diminished tax office house, there is Ivan Arko - Logar, who is shown naked with angel wings and kneeling with a poker on his shoulder. France Križman, the sawmill owner and timber merchant, and Josip Ančik, the pharmacist, are quickly climbing the ladder. Filip Peterlin is looking worried and lost his strength on the second crossbar. To the left of Ivan Pucelj, there is Ernest Kobler, the then tax office head, kneeling on the throne, while Anton Mejač, the judge, has carefreely skied down the left side of the roof. Right above the main entrance, one can see Johan's father reading the newspaper Jutro (Morning); he is accompanied by a canary in a birdcage. A man with a hat and two suitcases is standing in front of the loan bank - it seems he has also been driven back to his hometown by the crisis that had caused such a high unemployment rate in the USA. The entrance to the building is adorned by two telamons that are supporting the heavy structure of the loan bank building. The right one resembles Ivan Klun, a member of the supervisory board of the loan bank, while the left corner is supported by Emil Pakiž, the innkeeper and owner of the weaving factory. To the right side of the entrance, there is a group of local people with bandages across their jaws; they are walking one after the other, accompanied by a skinny dragon. They are on their way »To the dentist« (this written on the signpost), walking past the hotel and the so-called Breakfast bar, under a maypole, where a sign is hung »Let's do it, let's do it, let's give it all for the crisis.«. The caricature The Bread, Wood and Health Deputation of Ribnica was published in the newspaper The Illustrated Slovene in 1931 and depicts a meeting of three influential men from Ribnica; the mayor of Ribnica and baker Ivan Novak, the timber merchant and sawmill owner France Križman and the pharmacist Josip Ančik. They are most likely talking about the issue concerning the water distribution system in Ribnica. Josip Ančik is holding a small bottle in his left hand - there is a small piece of paper reading »aqua« tied to it - and waving a sheet of paper in his right hand towards Ivan Novak. Križman is doing nothing but wisely smoothing down his long moustache. The caricature with the title Kapišoni of Ribnica at the Local Parliament was published in the Illustrated Slovene in 1931. It is set at Pakiž's Inn, where the local influential men used to meet to discuss the topical issues concerning Ribnica. The events from the »famous parliament, where the entire creme de la creme of the intellectual and economy world of the wooden ware capital got together« were a subject matter that Janko Trost also repeatedly dealt with in his written records of adventures and anecdotes from Ribnica. »The local residents of all walks of life and convictions would meet here, thoughts were born and all the domestic and foreign issues were being solved. Only important guests were allowed to sit at the table next to the furnace, there was no room for other guests here. At the 3 Indentification by Ivan Pelc according to the stories of Marjan Gril, 2011 Mikbva Epa, akvarel Mikbva Lime Tree, watercobur furnace table, 'kapišoni' had the first say, all of the others only listened respectfully at first and had their turn later when the wine has warmed them up and gave them the gift of speech.«'' Janko Trost was also very interested in Marko Burger and Rudi Pirker, two of the townspeople ('kapišoni') from Ribnica. Their conversations, quarrels and adventures are included in Trost's written records about Ribnica and its people. The two men were the subject of his caricature On These 'Kapišoni' of Ours, where Marko Burger is depicted as a little man holding a pipe in his hand and sporting a cap made of dormouse skin, while Rudi Pirker has long arms and legs. Burger and Pirker are teasing each other about the legs: Pirker's legs are supposedly as long as spaghetti and Burger's short and x-shaped. Trost makes this image even more powerful by including some rhymes written under the caricature. The people of Ribnica believed Pirker to be a cunning and stingy person, while Burger was considered a good man. Although their personalities were very different, they were good friends and got along well. Another of Janko Trost's original caricatures known so far is a caricature with the title The Rabble of Ribnica on a postcard. The evening happening depicted in the caricature is set in the Ribnica Square. The procession is moving past the Ribnica Castle and the so-called Miklova House, towards the church, and is led by a flag-bearer with a sash which reads »The Rabble of Ribnica«. The procession is followed by local people on skis, including a man with a moustache, who has a box hung around his neck, with a sign which reads »arborin« - he is drumming on it with sticks. There is also a rather short man wearing a sash which reads »a virgin«. He is carrying a lily in his hands, a symbol of virginity. The people are pulling faces and wearing costumes, which makes one think this is a masquerade; they are joined by a piggy bank in the form of a piglet on skis and a white dog. The innkeeper and butcher Bregar is watching this unusual happening from the balcony of the corner house. Satirical images are present not only in caricatures but also in Janko Trost's genre scenes. Ever since the ancient times, comic characters have mostly been presented in the form of midgets, beggars, old ladies and drunkards, as well as old village codgers, either short skinny or far men, satisfied drinkers depicted as part of scenes in inns, village gossipmongers and female costermongers. It was scenes set at trade fairs where the people of Ribnica were selling its wares that were most suitable for getting familiar with satirical scenes. Images of wooden ware makers talking a blue streak to attract housewives, who are either smirking happily from the back or giving them mistrustful looks, are not a rare occurrence in Janko Trost's work. He likes to make these scenes even more meaningful by adding excerpts from the Ribnica anthem Urban from Ribnica (Urban being en expression for a local peddler, a symbol of Ribnica). Looking at Janko Trost's caricatures in particular it seems he must have been very well acquainted with the laws of caricature drawing as well as the laws of man's physiognomy. This not only reflected in his caricatures, but also in his expert articles about puppet making, where he describes the simplest method for emphasizing the personality of a certain character. It seems he must have had a lot of knowledge about the laws of caricature, in the sense of exaggerating the eye-catching characteristics of an individual person. Exaggerated emphasis is put on one's personal qualities or the most striking parts of one's body. Most of all, Trost loved to focus on the well-known and influential people of Ribnica. Without a doubt, his depictions include his own personal approach with the aim of making fun of someone, reprimanding their actions and decisions, and most of all entertaining the audience. ATrošt, Janko: Ribniški parlament./Ribnica Parliament. In: Zapiski o Ribnici in Ribničanih. Preserved as a copy. r \ v Ribnica: trg dekliško ljudsko šolo, 1936, akvarel Ribnica: the square with the girls' school, 1936, watercokur The town of Ribnica and its people were the main subject Janko Trost dealt with in his works. His caricatures depict the best-known events from the history of Ribnica. The same characters often appear in different caricatures - those who Janko Trost found particularly interesting personality-wise and who were at the same time a large source of entertainment for him owing to their adventures and personalities. He was attracted to the previously unexplored environment that many people were not familiar with. More than anything else, Trost dealt with craftsmen's workshops, the crafts and the knowledge passed on from one generation to another, which were after the end of the First World War being increasingly superseded by mechanization. He spoke in favour of the heritage both in his essays and studies, as well as through his artistic language; this was his means of preserving the heritage and the history of the places, the people and their customs, their quarrels and events to the present day. Vdbniski kapisoni V domakm parlamentu, 1927, tempera, papir Kapišoniof Ribnica at the Local Parliament, 1927, tempera, paper Sources and references: Razori. List za odraslo mladino. Vol. I., March (1933). Razori. List za odraslo mladino. Vol. L, April (1933). Razori. List za odraslo mladino. Vol. L, May (1933). Razori. List za odraslo mladino. Vol. L, lune (1933). Razori. List za odraslo mladino. Vol. M., January (1934). Razori. List za odraslo mladino. Vol. M., May (1934). Razori. List za odraslo mladino. Vol. VIN., No. 3 (1939/1940). Trošt, Janko: Zapisi o Ribnici in Ribničanih, a preserved copy. Turistični vestnik. Strokovni časopis za turizem in gostinstvo. No. 8(1958). Turistični vestnik. strokovni časopis za turizem in gostinstvo. No. 1 (1960). Oral sources: Janko Hren, Janez Pirker, Ivan Pele, Franc Lesar Motiv i^i Ribnice, 1925, pastel, platno A scene from Ribnica, 1925, pastel, canvas mrm, ■ j- r ■ " ^ Motiv i:i?dhnice, 1931, olje,platno A scene front Ribnica, 1931, oil, canvas Y .. I- > Ii 1 V L ■ Möto Loškega Votoka, akvarel A scene from Loški Potok, watercokur ibnica: Struška ulica, 1954, akvarel ibnica: Struška Street, 1954, ivatercobur T N Ii-; Ribnica: Logar-Steklilckov vogal, 1938, akvarel Ribnica: the Losar-Stekliček corner, 1938, watercobur Pogled na trg v S odraza, ^ano in barvano na ks A view of the square in S odrašča, burnt and coloured on mod if 4 i-, , • ; j f. 4' P , ir ?l Gostilniški motiv, ^ano in barvano na ks A scene front the inn, humt and coloured on wood r ■ « ^tj PRILOCa Seznam evidentiranih del Janka Trošta AppenoiK The registered works of Janko Trost Podatki si sledijo v naslednjem zaporedju: naslov, leto nastanka, tehnika, velikost v centimetrih, signatura in datacija dela, lastnik in opis. Pri delih, ki so v lasti javnih institucij in imajo svojo inventarno številko je le-ta navedena za podatkom o lastniku. Artwork details are listed in the following sequence: the title, the year of origin, the technique, size in cm, the author's signature and date, the owner and the description. Existing inventory numbers of the artwork owned by public institutions are listed after the details about owners. Muzej Ribnica Ribnica Museum Ribnica v 17. stoletju, 12. 8.1966, tempera. Lesonit, 68x58.5, /, Muzej Ribnica, inv. št.: 386, upodobitev Ribnice po Valvasorju. Ribnica in the 17th cent., 12. 8.1966, tempera, hardboard, 68x58.5, /, Ribnica Museum, inventory No.: 386, a depiction of Ribnica based on the artwork by Valvasor Ribnica leta 1810,12. 8.1966, tempera, lesonit, 68x53, /, Muzej Ribnica, inv. št.: 387, ribniška cerkev in grad v ozadju. Mala gora s cerkvijo sv. Ane in ortneški grad. Ribnica, 18. 8.1966, tempera, lesonit, 68 x 58, /, Muzej Ribnica, inv. št.: 388, upodobitev Ribnice pred letom 1866, pogled od Miklove hiše proti cerkvi. Ribnica okrog leta 1910,13. 8.1966, tempera, lesonit, 94 x 73, /, Muzej Ribnica, inv. št.: 389, pogled na francoski most, cerkev in grad. Ribniški trg leta 1900,13. 8.1966, tempera, lesonit, 93 x 80, /, Muzej Ribnica, inv. št.: 390, pogled na ribniški trg. Ribnica in 1810,12. 8.1966, tempera, hardboard, 68 x 53, /, Ribnica Museum, inventory No.: 387, the church of Ribnica, the castle in the background: Mala gora with St. Anne's Church and Ortnek Castle . Ribnica, 18. 8.1966, tempera, hardboard, 68 x 58, /, Ribnica Museum, inventory No.: 388, Ribnica prior to the year 1866; a view from Miklova house towards the church. Ribnica in approx. 1910,13. 8.1966, tempera, hardboard, 94 x 73, /, Ribnica Museum, inventory No.: 389, a view of Ribnica, the French bridge, the castle and the church. Ribnica - the square in 1900,13. 8.1966, tempera, hardboard, 93 x 80, /, Ribnica Museum, inventory No.: 390, a view of the Ribnica square. Turjaški grad, 13. 8.1966, olje, lesonit, 68 x 54 /, Muzej Ribnica, inv. št.: 391, pogled na grad na hribu. Turjak Castle, 13. 8.1966, oil, hardboard, 68 x 54 /, Ribnica Museum, inventory No.: 391, a view of the castle on the hill. Turjaški grad leta 1940,13. 8.1966, olje, lesonit, 68 x 54 /, Muzej Ribnica, inv. št.: 392. Turjak Castle in 1940,13. 8.1966, oil, hardboard, 68 x 54, /, Ribnica Museum, inventory No.: 392. Kočevje, 13. 8.1966, tempera, lesonit, 58 x 48, /, Muzej Ribnica, inv. št.: 393, utrjeno mesto z gradom, okoli utrdbe reka Rinža, v ozadju grad Friderichstein. Kostel, 13. 8.1966, tempera, lesonit, 37.5 x 32, /, Muzej Ribnica, inv. št.: 394, na vrhu hriba grad Kostel. Kočevje, 13. 8.1966, tempera, hardboard, 58 x 48, /, Ribnica Museum, inventory No.: 393, a fortified town with a castle, the River Rinža surrounding the fort, Fridrichstein Castle in the background. Kostel, 13. 8.1966, tempera, hardboard, 37.5 x 32, /, Ribnica Museum, inventory No.: 394, Kostel Castle on top of the hill. Ortneški grad, 13. 8.1966, tempera, lesonit, 58x48, /, Muzej Ribnica, inv. št.: 395, razvalina in del pokritega gradu. Ortnek Castle, 13. 8.1966, tempera, hardboard, 58 x 48, /, Ribnica Museum, inventory No.: 395, ruins and part of the covered castle. Ortneški grad, 13. 8.1966, tempera, lesonit, 73 x 46, /, Muzej Ribnica, inv. št.: 396, grajsko poslopje in obrambno zidovje gradu po Valvasorju. Brški grad, 13. 8.1966, tempera, lesonit, 58 x 58, /, Muzej Ribnica, inv. št.: 397, upodobitev gradu po Valvasorju. Ortnek Castle, 13. 8.1966, tempera, hardboard, 73 x 46, /, Ribnica Museum, inventory No.: 396, the castle building and the castle defensive wall based on the artwork by Valvasor. Breg Castle, 13. 8.1966, tempera, hardboard, 58 x 58, /, Ribnica Museum, inventory No.: 397, a depiction of the castle based on the artwork by Valvasor Razvaline brškega gradu, 13. 8.1966, tempera. Lesonit, 39 )< 11, /, Muzej Ribnica, inv. št.: 398, del zidu, pred zidom je vrt. Ruins of Breg Castle, 13. 8.1966, tempera, hardboard, 39x27, /, Ribnica Museum, inventory No.: 398, a part of the wall, a garden has been set up in front of the wall. Ribnica, grajsko dvorišče v 15. stoletju, 13. 8.1966, tempera, lesonit, 67 )< 42, /, Muzej Ribnica, inv. št.: 399. Ribnica-the castle courtyard in the 15th cent., 13. 8.1966, tempera, hardboard, 67 )< 42, /, Ribnica Museum, inventory No.: 399 Ribniški grad v 15. stoletju, 13. 8.1966, tempera, lesonit, 68x58, /, Muzej Ribnica, inv. št.: 400, napad na utrjen ribniški grad z dvižnim mostom in vodo okoli obzidja. Čušperski grad, 13. 8.1966, tempera, lesonit, 78x52, /, Muzej Ribnica, inv. št.: 401. Sodražica, 13. 8.1966, tempera, lesonit, 94 x 71, /, Muzej Ribnica, inv. št.: 402, trg Sodražica s cerkvijo, spredaj potok Bistrica. Velike Lašče, 13. 8.1966, tempera, lesonit, 90 x 70, /, Muzej Ribnica, inv. št.: 403, pogled na Velike Lašče leta 1938. Tabor v Loškem Potoku, 13. 8.1966, tempera, lesonit, 41 x 34, /, Muzej Ribnica, inv. št.: 404, cerkvi sv. Lenarta in sv. Barbare, spodaj vas Hrib. Ribnica Castle in the 15th cent., 13. 8.1966, tempera, hardboard, 68 x 58, /, Ribnica Museum, inventory No.: 400, the fortified Ribnica Castle with a drawbridge and water around the walls. Čušperk Castle, 13. 8.1966, tempera, hardboard, 78x52, /, Ribnica Museum, inventory No.: 401. Sodražica, 13. 8.1966, tempera, hardboard, 94x71, /, Ribnica Museum, inventory No.: 402, the square in Sodražica with a church, the Bistrica Brook in the foreground. Velike Lašče, 13. 8.1966, tempera, hardboard, 90 x 70, /, Ribnica Museum, inventory No.: 403, the square, a view of Velike Lašče in 1938. Tabor in Loški Potok, 13. 8.1966, tempera, hardboard, 41 x 34, /, Ribnica Museum, inventory No.: 404, St. Leonard's and St. Barbara's churches, the village of Hrib below. Tabor v Loškem potoku, 13. 8.1966, tempera, lesonit, 78 x 62, /, Muzej Ribnica, inv. št.: 405, cerkvi sv. Lenarta in sv. Barbare. Turjaški grad, dvorišče, 13. 8.1966, olje, platno, 58 x 47, /, Muzej Ribnica, inv. št.: 406, stanovanje gosposke, levo luteranska kapela. Lož v 17. stoletju, 13. 8.1966, tempera, lepenka, 49 x 34, /, Muzej Ribnica, inv. št.: 407, razvalina starega gradu, pod njo novi grad z mestom in cerkvijo. Dolenja vas z ožago, 13. 8.1966, tempera, lesonit, 89 x 70, /, Muzej Ribnica, inv. št.: 408, vas s cerkvijo in ožago v ravnini. Glažar iz Glažute, 13. 8.1966, tempera, lesonit, 58 x 40, /, Muzej Ribnica, inv. št.: 409, glažar nosi v pleteni košari glaževino, v ozadju kraj Glažuta. Lončar tovornik, 13. 8.1966, tempera, lesonit, 55 x39, /, Muzej Ribnica, inv. št.: 410, lončar ima na konju krošnjo, naloženo z lončeno robo. Tabor in Loški Potok, 13. 8.1966, tempera, hardboard, 78 x 62, /, Ribnica Museum, inventory No.: 405, St. Leonard's and St. Barbara's churches. Turjak Castle-the courtyard, 13. 8.1966, oil painting, canvas, 58 x 47, /, Ribnica Museum, inventory No.: 406, homes of the nobility, a Lutheran chapel on the left side. Lož in the 17th cent., 13. 8.1966, tempera, pasteboard, 49 x 34, /, Ribnica Museum, inventory No.: 407, ruins of the old castle and the new castle with the town and the church below it. Dolenja vas with a pottery kiln, 13. 8.1966, tempera, hardboard, 89 x 70, /, Ribnica Museum, inventory No.: 408, the village with the church and a kiln on the plain. Glassware-seller from Glažuta, 13. 8.1966, tempera, hardboard, 58 x40, /, Ribnica Museum, inventory No.: 409, a glassware - seller carrying glassware in a wicker basket, the village of Glažuta in the background. Pottery transporter, 13. 8.1966, tempera, hardboard, 55 x 39, /, Ribnica Museum, inventory No.: 410, a potter transporting a wicker basket filled with pottery ware on his horse. Lončar s krošnjo, 13. 8.1966, tempera. Lesonit, 56x41, /, Muzej Ribnica, inv. št.: 411, Lončar s krošnjo gre zdoma prodajat izdeLke. Lončar pri deLu, 13. 8.1966, tempera. Lesonit, 46x31, /, Muzej Ribnica, inv. št.: 412, Lončar sedi na stoLu, z Levo nogo vrti koLovrat in izdeLuje posodo. IzdeLovanje Lončene posode, 13. 8.1966, tempera. Lesonit, 122 x 63, /, Muzej Ribnica, inv. št.: 413, trije motivi: v sobi mati reže s srpom gLino, sin jo gnete z nogami, oče izdeLuje gLinasto posodo. Agrarna reforma, /, risba, 28 x 20, /, Muzej Ribnica, moški z bičem, ki ukazuje živaLim. Potter with a wicker basket, 13. 8.1966, tempera, hardboard, 56 x 41, /, Ribnica Museum, inventory No.: 411, a potter with a wicker basket on his way to seLL his ware. Potter at Work, 13. 8.1966, tempera, hardboard, 46 x 31, /, Ribnica Museum, inventory No.: 412, a potter sitting on a stooL; he is spinning the spinning wheeL with his Left foot and making his ware. Pottery making, 13. 8.1966, tempera, hardboard, 122x63, /, Ribnica Museum, inventory No.: 413, three scenes: the mother cutting cLay with a sickLe, the son kneading it with his feet, the father making pottery. Agrarian Reform, /, drawing, 28 x 20, /, Ribnica Museum, a man with a whip driving animaLs. Pravosodje, /, risba, 28 x 20, d. sp.: ]. Trošt, Muzej Ribnica mož, ki ima v eni roki muho, pred njim je žaba. JudiciaL System, /, drawing, 28 x 20, bottom right: ]. Trošt, Ribnica Museum, a man hoLding a fLy in his hand; there is a frog in front of him. Trgovina, /, risba, 28 x 20, d. sp.: JTrošt, Muzej Ribnica, mož z desko v rokah, za njim je prašič. Trade, /, drawing, 28 x 20, bottom right: JTrošt, Ribnica Museum, a man hoLding a board; there is a pig behind him. Prosveta, /, risba, 27,5 x 17, d. sp.: JTrošt, Muzej Ribnica, mož z »jokerjem« v naročju. Education, /, drawing, 27.5 x 17, bottom right: JTrošt, Ribnica Museum, a man hoLding a »joker«. Šume in rude, /, risba, 28 x 20, /, Muzej Ribnica, mož z rudo v rokah in pLesaLkami v ozadju. The Woods and the Ores, /, drawing, 28 x 20, /, Ribnica Museum, a man hoLding ore in his hands; there are some dancers behind him. M Zdravstvo, /, risba, 28 x 20, d. sp.: JTrošt, Muzej Ribnica, zdravnik s poškodovanim sokoLom v roki. HeaLth, /, drawing, 28 x 20, bottom right: JTrošt, Ribnica Museum, a doctor hoLding an injured faLcon. - - ."s 4 Promet, /, risba, 28 x 20, /, Muzej Ribnica, mož pred smerokazom »na Štacjon«. Transport, /, drawing, 28 x 20, /, Ribnica Museum, a man at the »To the station« signpost. FLajštrajne v Ribnici, 1931, tempera, papir, 50 x 47.5, d. sp.: pin. ]. Trošt 31, Muzej Ribnica, karikatura s prizorom tLakovanja ceste v Ribnici. Paving in Ribnica, 1931, tempera, paper, 50 x 47.5, bottom right: pin. ]. Trošt 31, Ribnica Museum, a caricature depicting paving a road in Ribnica. Motiv iz Ribnice, 1926, akvarel, 30 x 40, d. sp.: ]. Trošt 1926., Muzej Ribnica, pogled na francoski most, cerkev in grad. A scene from Ribnica, 1926, watercolour, 30 )< 40, bottom right: ]. Trošt. 1926., Ribnica Museum, the French bridge across the river; the church and the castle in the background. Zemljevidi Geografski pregled ribniške lončarske domače obrti, 30. 7.1966, podlaga lesonit, 98 x 129, /, Muzej Ribnica, inv. št.: 117. Ribniško lončarstvo - tržni obseg in samoprodaja, 30. 7.1966, papir, 60 x 84, /, Muzej Ribnica, inv. št.: 118. Zdomarska pota ribniških krošnjarjev s suho robo, 5. 8. 1966, papir, 53 )< 79, /, Muzej Ribnica, inv. št.: 190. Geografski pregled ribniške lesne domače obrti, 12. 8.1966, podlaga lesonit, 148 x 161, /, Muzej Ribnica, inv. št.: 385. Maps A geographical overview of the pottery cottage industry of Ribnica, 30. 7.1966, a hardboard base, 98 x 129, /, Ribnica Museum, inventory No.: 117. The pottery of Ribnica - the market and the sale, 30. 7. 1966, paper, 60 x 84, /, Ribnica Museum, inventory No.: 118. The paths of wooden ware peddlers from Ribnica, 5. 8. 1966, paper, 53 x 79, /, Ribnica Museum, inventory No.: 190. A geographical overview of the wood cottage industry of Ribnica, 12. 8.1966, a hardboard base, 148 x 161, /, Ribnica Museum, inventory No.: 385. Maketa Maketa, 30. 7.1966, podlaga lesonit, 90 x 145, /, Muzej Ribnica, inv. št.: 119, maketa prikazuje štiri prereze lončarske in štiri prereze pečarske peči. Model Model, 30. 7.1966, a hardboard base, 90 x 145, /, Ribnica Museum, inventory No.: 119, four sections of a pottery kiln and four sections of a stove-making kiln. Mestni muzej Idrija Idrija Municipal Museum Idrija - Mestni trg, 1953, olje, platno, 97 x 178, d. sp.: ]. Trošt 1953, Mestni muzej Idrija, inv. št.: M 362. Idrija - Town square, 1953, oil, canvas, 97 x 178, bottom right: ]. Trošt 1953, Idrija Municipal Museum, inventory No.: M 362. Zemeljska drča za spravilo lesa, 1953, olje, lesonit, 117x83, /, Mestni muzej Idrija, inv. št.: M 363. A natural chute for timber harvest, 1953, oil, hardboard, 117x83, /, Idrija Municipal Museum, inventory No.: M 363. Starejše klavže iz lesa in kamenja, 1953, olje, lesonit, 84x118, /, Mesni muzej Idrija, inv. št.: M 364. Older wooden and rock barrages, 1953, oil/ hardboard, 84x118, /, Idrija Municipal Museum, inventory No.: M 364. Stare klavže II, 1953, olje, lesonit, 80 x 83, /, Mestni muzej Idrija, inv. št.: M 365. Mrakove klavže na Idrijci leta 1772,1953, olje, lesonit, 98x170, /, Mestni muzej Idrija, inv. št.: M 366. Kripta sv. Barbare, 1953, olje, platno, 48 x 42, /, Mestni muzej Idrija, inv. št.: M 367. Older barrages II, 1953, oil, hardboard, 80 x 83, /, Idrija Municipal Museum, inventory No.: M 365. Mrak Barrages on the River Idrijca in 1772,1953, oil, hardboard, 98 x 170, /, Idrija Municipal Museum, inventory No.: M 366. St. Barbara's Crypt, 1953, oil, canvas, 48 x 42, /, Idrija Municipal Museum, inventory No.: M 367. NapLavLjen Les za grabljami na Lenštatu, 1953, olje. Lesonit, 83 )< 118, /, Mestni muzej Idrija, inv. št.: M 368. ForšoLa, 1954, olje. Lesonit, )< 43, d. sp.: ]. T. 1954, Mestni muzej Idrija, inv. št.: M 369. Kuhanje ogLja v idrijskih gozdovih, 1953, oLje, Lesonit, 98 )< 171, /, Mestni muzej Idrija, inv. št.: M 370. Žganje rude v kopah v začetku 16. stoletja, 1953, oLje, Lesonit, 140 x 200, d. sp.: ]. T. 53, Mestni muzej Idrija, inv. št.: M 371. Škafar, 1953, oLje, Lesonit, 148 x 96, d. sp.: 53 ]. T., Mestni muzej Idrija, inv. št.: M 372, škafar v studencu odkrije živo srebro. Tovorniki živega srebra sredi 18. stoLetja, 1953, oLje, Lesonit, 141 )< 200, d. sp.: ]. T. 53, Mestni muzej Idrija, inv. št.: M 373. Wood washed ashore by water behind the rake at Lenštat, 1953, oiL, hardboard, 83 )< 118, /, Idrija Municipal Museum, inventory No.: M 368. ForšoLa, 1954, oiL, hardboard, 44 )< 43, bottom right: ]. T. 1954, Idrija Municipal Museum, inventory No.: M 369, the forestry schooL in Zaspana grapa. CharcoaL burning in the woods of Idrija, 1953, oiL, hardboard, 98x171, /, Idrija Municipal Museum, inventory No.: M 370. Ore burning in charcoaL piLes in the earLy 16th century, 1953, oiL, hardboard, 140 x 200, bottom right: ]. T. 53, Idrija Municipal Museum, inventory No.: M 371. 'Škafar', a tub maker, 1953, oiL, hardboard, 148 x 96, bottom right: 53 ]. T., Idrija Municipal Museum, inventory No.: M 372, a tub maker discovers mercury in a weLL. Mercury transporters in mid-18th century, 1953, oiL, hardboard, 141 x 200, bottom right: ]. T. 53, Idrija Municipal Museum, inventory No.: M 373. DeLo rudarjev sredi 17. stoLetja, 1953, oLje, Lesonit, 118x216, d. sp.: ]. T. 53, Mestni muzej Idrija, inv. št.: M 389. ZatoLmin s krnskimi planinami, /, oLje, pLatno, 112x150, d. sp.: ]. Trošt, Mestni muzej Idrija, inv. št.: M 390. Miners' work in mid-17th century, 1953, oil, hardboard, 118x216, bottom right: ]. T. 53, Idrija Municipal Museum, inventory No.: M 389. ZatoLmin with Krn Mountains, /, oiL, canvas, 112 x 150, bottom right: ]. Trošt, Idrija Municipal Museum, inventory No.: M 390. Maketa Vodne zapornice, t. i. kLavže, na Idrijci, podlaga Lesonit, /, /, Mestni muzej Idrija, inv. št.: MM 61, prikazuje zgradbo in delovanje pregrade, ki vsebuje pogled od spredaj, zadaj, vzdoLžni vodoravni prerez, vzdoLžni navpični prerez, prečni navpični prerez in način odpiranja vrat. ModeL je narejen v meriLu M 1:100. Model A part of water barrages on the River Idrijca, a hardboard base, /, /, Idrija Municipal Museum, inventory No.: MM 61, the modeL presents the construction and operation of the barrier; it incLudes views from the front and the back, a LongitudinaL horizontaL section, a LongitudinaL verticaL section, a transverse verticaL section and the gate-opening technique; it is made in a scaLe of 1:100. Pokrajinski muzej Kočevje Regional museum Kočevje Johanova hiša v Ribnici, 1956, oLje, Lesonit, 26.5 x32, d. sp.: ]. Trošt 56, Pokrajinski muzej Kočevje. Johan's house in Ribnica, 1956, oil, hardboard, 26.5x32, bottom right: ]. Trošt 56, Kočevje RegionaL Museum. Slovenski etnografski muzej Slovene ethnographic Museum IT A Kmet s kozo, 1940, Les, doLž. podstavka: 24, viš. figure: 15, /, Slovenski etnografsl-t UJ mt - Leskovec - cerkev sv. Ožbalta, 1947, tuš, /, /, Ministrstvo za kulturo, INDOK center, št.: 806, tloris cerkve, posnetek stanja. Leskovec-St. Oswald's Church, 1947, Indian ink, /, /, Ministry of Culture, INDOK center. No: 806, church ground plan, an image of the condition. n Retje v Loškem Potoku - cerkev sv. Florijana, 1947, tuš, /, /, Ministrstvo za kulturo, INDOK center, št.: 807, tloris cerkve, posnetek stanja. Retje v Loškem Potoku - St. Florian's Church, 1947, Indian ink, /, /, Ministry of Culture, INDOK center. No: 807, church ground plan, an image of the condition. rt LP Krvava Peč - cerkev sv. Lenarta, 1947, tuš, /, /, Ministrstvo za kulturo, INDOK center, št.: 808, tloris cerkve, posnetek stanja. Krvava Peč-St. Leonard's Church, 1947, Indian ink, /, /, Ministry of Culture, INDOK center. No.: 808, church ground plan, an image of the condition. Mala Slevica - cerkev sv. Jakoba, 1947, tuš, /, /, Ministrstvo za kulturo, INDOK center, št.: 809, tloris cerkve in pogled na zvonik, posnetek stanja. Mala Slevica - St. Jacob's Church, 1947, Indian ink, /, /, Ministry of Culture, INDOK center. No.: 809, church ground plan and A view of the bell tower, an image of the condition. Ribjek ob Kolpi - cerkev sv. Egidija, 18. 9.1947, akvarel, /, L sp.: JT, Ministrstvo za kulturo, INDOK center, št.: 1497, zunanjščina cerkve. Ribjek ob Kolpi. St. Giles' Church, 18. 9.1947, watercolour, /, bottom left: JT, Ministry of Culture, INDOK center. No.: 1497, church exterior p KosteL-cerkev sv. Treh Kraljev, 23.11.1947, akvarel, /, 1. sp.: ]T, Ministrstvo za kulturo, INDOK center, št.: 1558, zunanjščina cerkve, posnetek stanja. Kostel-Church of the Magi, 23.11.1947, watercolour, /, bottom left: ]T, Ministry of Culture, INDOK center. No.: 1558, church exterior, an image of the condition. 4 Vrh pri Pari -cerkevsv. Nikolaja, 23.11.1947, akvarel, /, 1. sp.: ]T, Ministrstvo za kulturo, INDOK center, št.: 2206, zunanjščina cerkve, posnetek stanja. Vrh pri Fari - St. Nicholas Church, 23.11.1947, watercolour, /, bottom left, ]T, Ministry of Culture, INDOK center. No.: 2206, church exterior, an image of the condition. Novi Lazi - cerkev sv. Jurija, 25. 9.1947, akvarel, /, 1. sp.: ]T, Ministrstvo za kulturo, INDOK center, št.: 2437/1, zunanjščina cerkve. Novi Lazi - St. George's Church, 25. 9.1947, watercolour, /, bottom left: ]T, Ministry of Culture, INDOK center. No.: 2437/1, church exterior. Novi Lazi - cerkev sv. Jurija, 25. 9.1947, akvarel, /, 1. sp.: ]T, Ministrstvo za kulturo, INDOK center, št.: 2437/2, zunanjščina cerkve. Novi Lazi - St. George's Church, 25. 9.1947, watercolour, /, bottom left: ]T, Ministry of Culture, INDOK center. No.: 2437/2, church exterior. ■I - -r1 'r f^ Kočevska Reka - kapela sv. Frančiška Ksaverja, 1947, akvarel, /, 1. sp: ]T, Ministrstvo za kulturo, INDOK center, št.: 2438, zunanjščina kapele. Kočevska Reka - St. Francis Kavier Chapel, 1947, watercolour, /, bottom left: ]T, Ministry of Culture, INDOK center. No.: 2438, chapel exterior. Zajčje Polje - cerkev sv. Valentina, 1947, akvarel, /, d. sp.: ]T, Ministrstvo za kulturo, INDOK center, št.: 2439, zunanjščina cerkve. Zajčje Polje - St. Valentine's Church, 1947, watercolour, /, bottom right: ]T, Ministry of Culture, INDOK center. No.: 2439, church exterior. ^-Jt^ "t* -1•■ 'f * Gotenica-cerkev sv. Ožbolta, 1947, akvarel,/, 1. sp.: ]T, Ministrstvo za kulturo, INDOK center, št.: 2440, zunanjščina cerkve. Gotenica - St. Oswald's Church, 1947, watercolour, /, bottom left: ]T, Ministry of Culture, INDOK center. No.: 2440, church exterior. A Koče - cerkev sv. Marijinega vnebovzetja, 1947, akvarel, /, d. sp.: ]T, Ministrstvo za kulturo, INDOK center, št.: 2441, zunanjščina cerkve. Koče - Church of the Assumption of the Blessed Virgin Mary, 1947, watercolour, /, bottom right: ]T, Ministry of Culture, INDOK center. No.: 2441, church exterior. 0T; Laze - cerkev sv. Jožefa, 1947, akvarel, /, d. sp.: ]T, Ministrstvo za kulturo, INDOK center, št.: 2442/1, zunanjščina cerkve, pred cerkvijo križ. Laze-St. Joseph's Church, 1947, watercolour, /, bottom right: ]T, Ministry of Culture, INDOK center. No.: 2442/1, church exterior, a symbol has been erected in front of the church- a cross. t*' I Laze - cerkev sv. Jožefa, 1947, akvarel, /, 1. sp.: ]T, Ministrstvo za kulturo, INDOK center, št.: 2442/2, zunanjščina cerkve. Laze-St. Joseph's Church, 1947, watercolour, /, bottom left: ]T, Ministry of Culture, INDOK center. No.: 2442/2, church exterior. -f Ajbelj - cerkev sv. Jerneja, 25. 9.1947, akvarel, /, L. sp.: ]T, Ministrstvo za kulturo, INDOK center, št.: 2443, zunanjščina cerkve. Ajbelj - St. Bartholomew's Church, 25. 9.1947, watercolour, /, bottom left: ]T, Ministry of Culture, INDOK center. No.: 2443, church exterior Stalcerji - cerkev sv. Antona Puščavnika, 25. 9.1947, akvarel, /, 1. sp.: ]T, Ministrstvo za kulturo, INDOK center, št.: 2444, zunanjščina cerkve, pred cerkvijo pokopališče. Žurgi - cerkev sv. Duha, 18. 9.1947, akvarel, /, 1. sp.: ]T, Ministrstvo za kulturo, INDOK center, št.: 2445, zunanjščina cerkve. Štalcerji - Church of St. Anthony the Hermit, 25. 9. 1947, watercolour, /, bottom left: ]T, Ministry of Culture, INDOK center. No.: 2444, church exterior, a cemetery in front of the church. Žurgi - Church of the Holy Spirit, 18. 9.1947, watercolour, /, bottom left: ]T, Ministry of Culture, INDOK center. No.: 2445, church exterior Ložine - cerkev sv. Petra in Pavla, 4.11.1947, akvarel, /, 1. sp.: ]T, Ministrstvo za kulturo, INDOK center, št.: 2446, zunanjščina cerkve. Ložine-St. Peterand Paul Church, 4.11.1947, watercolour, /, bottom left: ]T, Ministry of Culture, INDOK center. No.: 2446, church exterior T .1 Banja Loka - cerkev sv. Jakoba, 25. 9.1947, akvarel, /, 1. sp.: ]T, Ministrstvo za kulturo, INDOK center, št.: 2447, zunanjščina cerkve. Banja Loka - St. Jakob's Church, 25. 9.1947, watercolour, /, bottom left: ]T, Ministry of Culture, INDOK center. No.: 2447, church exterior Onek - kapela sv. Kozme in Damijana, 1947, akvarel, /, L sp.: ]T, Ministrstvo za kulturo, INDOK center, št.: 2449, zunanjščina kapele. Onek-St. Kozma and Damian's Chapel, 1947, watercolour, /, bottom left: ]T, Ministry of Culture, INDOK center. No.: 2449, chapel exterior Onek - cerkev sv. Ane na Gori, 1947, akvarel, /, /, Ministrstvo za kulturo, INDOK center, št.: 2452. Onek-St. Anne's Church in Gora, 1947, watercolour, /, /, Ministry of Culture, INDOK center. No.: 2452. Staro Brezje - cerkev Device Marije, 4. 9.1947, akvarel, /, L sp.: ]T, Ministrstvo za kulturo, INDOK center, št.: 1557/1, zunanjščina cerkve. Staro Brezje - Church of St. Mary the Virgin, 4. 9.1947, watercolour, /, bottom left: ]T, Ministry of Culture, INDOK center. No.: 1557/1, church exterior I -^r-' ■ ^ staro Brezje - cerkev Device Marije, 4. 9.1947, akvarel, /, L sp.: ]T, Ministrstvo za kulturo, INDOK center, št.: 1557/2, zunanjščina cerkve z zadnje strani. Staro Brezje - Church of St. Mary the Virgin, 4. 9. 1947, watercolour, /, bottom left: ]T, Ministry of Culture, INDOK center. No.: 1557/2, church exterior from the rear side. Zasebne zbirke Private Collections Motiv iz Idrije, /, akvarel, 16.5 )< 23.5, d. sp.: ]. Trošt 1951, družina Trošt Korenčan, črna kuhinja. A scene from Idrija, /, watercoLour, 16.5 )< 23.5, bottom right: ]. Trošt, 1951, the Trošt Korenčan family, a farmhouse smoke kitchen. Motiv iz Idrije, 1953, akvarel, 18.5 )< 20.5, d. sp.: ]. Trošt 1953, družina Trošt Korenčan, rudarske hiše. Grad Gewerkenegg v Idriji, /, akvarel, 27 )< 22, /, družina Trošt Korenčan. A scene from Idrija, 1953, watercolour, 18.5 )< 20.5, bottom right: ]. Trošt, 1953, the Trošt Korenčan family, miners' houses. Idrija Castle, /, watercolour, 27 )< 22, /, the Trošt Korenčan family. Motiv iz Idrije, 1950, akvarel, 20 x 19.5, 1. sp.: ]. Trošt 50, družina Trošt Korenčan, hiša z rdečo ograjo. A scene from Idrija, 1950, watercolour, 20 x 19.5, bottom left: ]. Trošt 50, the Trošt Korenčan family, a house with a red fence. Motiv iz Idrije, 1952, akvarel, 16.5 )< 19.5, d. sp.: ]. Trošt 52, družina Trošt Korenčan, viseči most pri Debeli skali. A scene from Idrija, 1952, watercolour, 16.5x19.5, bottom right: ]. Trošt 52, the Trošt Korenčan family, the hanging bridge at Debela skala. Motiv iz Idrije, 1953, akvarel, 18x19, 1. sp.: J.Trošt 1953, družina Trošt Korenčan, Mrakova ulica. Motiv iz Idrije, 1954 akvarel, 22x15, d. sp.: ]. Trošt 1954 družina Trošt Korenčan, pri Kovačici. Motiv iz Idrije, 1950, akvarel, 18.5 x 19.5, 1. sp.: ]. Trošt 50, družina Trošt Korenčan, pri Balantonu. A view of Idrija, 1953, watercolour, 18 x 19, bottom left: J.Trošt 1953, the Trošt Korenčan family, Mrakova Street. A scene from Idrija, 1954 watercolour, 22 x 15, bottom right: ]. Trošt 1954, the Trošt Korenčan family, at Kovačnica. A scene from Idrija, 1950, watercolour, 18.5x19.5, bottom left: ]. Trošt 50, the Trošt Korenčan family, at Balanton. Motiv iz Idrije, 1953, akvarel, 18.5 x 20, d. sp.: ]. Trošt 53, družina Trošt Korenčan, pogled na grad z Ulice sv. Barbare. A scene from Idrija, 1953, watercolour, 18.5 x 20, bottom right: ]. Trošt 53, the Trošt Korenčan family, a view of the castle from St. Barbara's Street. Idrija - Rožna ulica, 1953, akvarel, 25 x 17.5, d. sp.: ]. Trošt 1953, družina Trošt Korenčan, Jurman, Rožna ulica. Idrija - Rožna Street, 1953, watercolour, 25 x 17,5, bottom right: ]. Trošt 1953, the Trošt Korenčan family, Jurman, Rožna Street. "•iiir Idrija - baročni portal na Švici, Kosovelova ulica, 1953, akvarel, 22.5x15, d. sp.: ]. Trošt 1953, družina Trošt Korenčan. Idrija - a baroque portal at Švica in Kosovelova Street, 1953, watercolour, 22.5 )< 15, bottom right: ]. Trošt 1953, the Trošt Korenčan family. ' k Idrija - Pront proti Tičnici, 1953, akvarel, 22.5x19, d. sp.: ]. Trošt 53, družina Trošt Korenčan. Šepetavčeva hiša - Rožna ulica v Idriji, 1953, akvarel, 13.5 x 20, d. sp.: ]. Trošt 1953, družina Trošt Korenčan. Idrija - cerkev sv. Antona, 1953, akvarel, 25x17.5, d. sp.: ]. Trošt 1953, družina Trošt Korenčan. Idrija - Rožna ulica, 1953, akvarel, 22.5 x 19, d. sp.: Janko Trošt 1953, družina Trošt Korenčan, Rožna ulica II. Idrija - Pront in the direction towards Tičnica, 1953, watercolour, 22.5 x 19, bottom right: ]. Trošt 53, the Trošt Korenčan family. Šepetavc house - Rožna Street in Idrija, 1953, watercolour, 13.5 x 20, bottom right: ]. Trošt 1953, the Trošt Korenčan family. Idrija - St. Anthony's Church, 1953, watercolour, 25x17.5, bottom right: ]. Trošt 1953, the Trošt Korenčan family. Idrija - Rožna Street, 1953, watercolour, 22.5x19, bottom right: Janko Trošt 1953, the Trošt Korenčan family. Rožna Street II. Motiv iz Idrije, 1953, akvarel, 20.5 x 14 1. sp.: ]. Trošt 1953, družina Trošt Korenčan, Golijeva vila. A scene from Idrija, 1953, watercolour, 20.5 x lA, bottom left: ]. Trošt 1953, the Trošt Korenčan family, Goli's villa. Pogled na Horjul, 1957, olje, lesonit, 17.5 x 11.5, /, družina Trošt Korenčan. A view of Horjul, 1957, oil painting, 17.5 x 11.5, /, the Trošt Korenčan family. Portret Franceta Prešerna, /, olje, lesonit, 17.5x11.5, /, družina Trošt Korenčan. A portrait of France Prešeren, /, oil painting, 17.5x11.5, /, the Trošt Korenčan family. Motiv iz Idrije, 1953, olje, lesonit, 18.5 x 15, 1. sp.: ]. Trošt 53, družina Trošt Korenčan, pri Balantonu. A scene from Idrija, 1953, oil painting, hardboard, 18.5x15, bottom left: ]. Trošt 53, the Trošt Korenčan family, at Balanton. Lončar, /, žgano in barvano na les, 61.5 x 54.5, /, družina Trošt Korenčan, lončar prodaja lončeno robo. Potter, /, burnt and coloured, wood, 61.5 x 54.5, /, the Trošt Korenčan family, a potter selling his wares. Motiv iz Idrije, 1953, akvarel, 22 x 17.5, d. sp.: ]. Trošt 1953, družina Trošt Korenčan, Frančiškov jašek. A scene from Idrija, 1953, watercolour, 22 x 17.5, bottom right: ]. Trošt 1953, the Trošt Korenčan family, the Frančišek shaft. Motiv iz Idrije, 1953, akvarel, 22.5 )< 19, d. sp.: ]. Trošt 1953, družina Trošt Korenčan, pogled na topilniški dimnik. Cerkev sv. Antona in saht, 1953, akvarel, 22.8x19.5 d. sp.: ]. Trošt 53, družina Trošt Korenčan. Motiv iz Idrije, 1953, akvarel, 23 )< 19.5, d. sp.: ]. Trošt 53, družina Trošt Korenčan, Frančiškov jašek in cerkev sv. Antona. Motiv iz Idrije, 1954 akvarel, 18.5 )< 20, d. sp.: ]. Trošt 54 družina Trošt Korenčan, kamšt in Jožefov jašek. Motiv iz Idrije, 1952, akvarel, 24 )< 19.5, 1. sp.: ]. Trošt 52, družina Trošt Korenčan, stavba kamšti. A scene from Idrija, 1953, watercolour, 22.5 )< 19, bottom right: ]. Trošt 1953, the Trošt Korenčan family, a view of the smeltery plant chimney. St. Anthony's Church and the shaft, 1953, watercolour, 22.8 )< 19.5, bottom right: ]. Trošt 53, the Trošt Korenčan family. A scene from Idrija, 1953, watercolour, 23 )< 19.5, bottom right: ]. Trošt 5, the Trošt Korenčan family, Frančišek shaft and St. Anthony's Church. A scene from Idrija, 1954 watercolour, 18.5 )< 20, bottom right: ]. Trošt 54, the Trošt Korenčan family, the mine pumping station and the Jožef shaft. A scene from Idrija, 1952, watercolour, 24 )< 19.5, bottom left: ]. Trošt 52, the Trošt Korenčan family, the mine pumping station. Motiv iz Idrije, 1952, akvarel, 24 )< 15,1. sp.: ]. Trošt 52, družina Trošt Korenčan. A scene from Idrija, 1952, watercolour, 24 )< 15, bottom left: ]. Trošt 52, the Trošt Korenčan family. Motiv iz Idrije, 50. leta 20. stol., olje, lesonit, 24.5 )< 20, d. sp.: ]. Trošt, družina Trošt Korenčan, pri Balantonu. A scene from Idrija, 1950s, oil painting, hardboard, 24.5 )< 20, Bottom right: ]. Trošt, the Trošt Korenčan family, at Balanton. Motiv iz ldrije,1950, olje, lesonit, 27 )< 20, d. sp.: ]. Trošt 50, družina Trošt Korenčan. Motiv iz Idrije, 1949, olje, lesonit, 25x22, d. sp.: ]. Trošt 49, družina Trošt Korenčan. Motiv iz Idrije, 1954, olje, lesonit, 30.5 x 23.5, d. sp.: ]. Trošt 54, družina Trošt Korenčan, Prelovčeva ulica, v ozadju grad Gewerkenegg. Motiv iz Idrije, 1952, akvarel, 24.5 x 16.5, d. sp.: Janko Trošt 1952, družina Trošt Korenčan, pri Kumru. A scene from ldrija,1950, oil painting, hardboard, 27 x 20, bottom right: ]. Trošt50, the Trošt Korenčan family. A scene from Idrija, 1949, oil painting, hardboard, 25 x 22, bottom right: ]. Trošt 49, the Trošt Korenčan family. A scene from Idrija, 1954, oil painting, hardboard, 30.5x23.5, bottom right: ]. Trošt 54, the Trošt Korenčan family, Prelovčeva street, the Gewerkenegg Castle in the background. A scene from Idrija, 1952, watercolour, 245x16.5, bottom right: Janko Trošt 1952, the Trošt Korenčan family, at Kumer (I-. Motiv iz Idrije, 1950, akvarel, 21 x 18.5, d. sp.: ]. Trošt 50, družina Trošt Korenčan. Motiv iz Idrije, 1950, akvarel, 19 )< 22.5, d. sp.: ]. Trošt 50, družina Trošt Korenčan, Podgore pri Kogovšku. A scene from Idrija, 1950, watercolour, 21 x 18.5, bottom right: ]. Trošt 50, the Trošt Korenčan family. A scene from Idrija, 1950, watercolour, 19 )< 22.5, bottom right: ]. Trošt 50, the Trošt Korenčan family, Podgore at Kogovsek. Motiv iz Idrije, 1949, akvarel, 17 )< 14 d. sp.: ]. Trošt 1949, družina Trošt Korenčan, kalvarija pri sv. Antonu. Motiv iz Idrije, 1950, akvarel, 25x19, d. sp.: ]. Trošt 50, družina Trošt Korenčan, pogled z gradu proti Rižam. A scene from Idrija, 1949, watercolour, 17 x 14, bottom right: ]. Trošt 1949, the Trošt Korenčan family. Calvary above St. Anthony. A scene from Idrija, 1950, watercolour, 25 x 19, bottom right: ]. Trošt 50, the Trošt Korenčan family, a view from the castle towards Riže. Motiv iz Idrije, 1952, akvarel, 18.5 x 15.5, d. sp.: ]. Trošt 52, družina Trošt Korenčan, Riže-pot na Pringl. Motiv iz Idrije, 1950, akvarel, 22.5 x 17.5, d. sp.: ]. Trošt 50, družina Trošt Korenčan, rudarska hiša v Kosovelovi ulici. Motiv iz Idrije, 1952, akvarel, 26.5x19.5, 1. sp.: ]. Trošt 52, družina Trošt Korenčan, pogled na rudniški magazin s trga. A scene from Idrija, 1952, watercolour, 18.5 x 15.5, bottom right: ]. Trošt 52, the Trošt Korenčan family, Riže - the way to Pringl. A scene from Idrija, 1950, watercolour, 22.5 x 17.5, bottom right: ]. Trošt 50, the Trošt Korenčan family, the old mining house in Kosovelova Street. A scene from Idrija, 1952, watercolour, 26.5 x 19.5, bottom left: ]. Trošt 52, the Trošt Korenčan family, a view of the mine storehouse from the square. Motiv iz Idrije, 1948, akvarel, 26 x 20, d. sp.: ]. Trošt 1948, družina Trošt Korenčan, Kosovelova ulica z gradom Gewerkenegg v ozadju. Motiv iz Idrije, 1952, akvarel, 30 x 20.5, d. sp.: ]. Trošt 52, družina Trošt Korenčan, Zagradom III. A scene from Idrija, 1948, watercolour, 26 x 20, bottom right: ]. Trošt 1948, the Trošt Korenčan family, Kosovelova Street with the Gewerkenegg Castle in the background. A scene from Idrija, 1952, watercolour, 30 x 20.5, bottom right: ]. Trošt 52, the Trošt Korenčan family, Zagradom III. Motiv iz Idrije, 1952, akvarel, 18 x 15.5, d. sp.: ]. Trošt 1952, družina Trošt Korenčan, kripta v cerkvi sv. Barbare. A scene from Idrija, 1952, watercolour, 18 x 15.5, bottom right: ]. Trošt 1952, the Trošt Korenčan family, the vault in St. Barbara's Church. Motiv iz Idrije, 1952, akvarel, 26 x 20, L. sp.: ]. Trošt 1952, družina Trošt Korenčan, grad Gewerkenegg. A scene from Idrija, 1952, watercoLour, 26 x 20, bottom Left: ]. Trošt 1952, the Trošt Korenčan family, Gewerkenegg Castle. ... -V Motiv iz Idrije, 1952, akvarel, 17.5 )< 19.5, d. sp.: ]. Trošt 52, družina Trošt Korenčan, Študentovska ulica. Motiv iz Idrije, 1952, akvarel, 22 x 24, d. sp.: ]. Trošt 52, družina Trošt Korenčan, Šelštev-vhodna stavba v rudnik iz srede 18. stoletja. A scene from Idrija, 1952, watercolour, 17.5x19.5, bottom right: ]. Trošt 52, the Trošt Korenčan family, Študentovska Street. A scene from Idrija, 1952, watercolour, 22 x 24, bottom right: J.Trošt 52, the Trošt Korenčan family, Šelštev - the entrance building to the mine from the mid-18th century. r ■ .a Motiv iz Idrije, 1950, akvarel, 30.5 x 18.5, d. sp.: ]. Trošt 50, družina Trošt Korenčan, pogled na grad Gewerkenegg. A scene from Idrija, 1950, watercolour, 30.5x18.5, bottom right: ]. Trošt 50, the Trošt Korenčan family, a view of Gewerkenegg Castle. u Motiv iz Idrije, 1950, akvarel, 31 x 24, 1. sp.: ]. Trošt 50, družina Trošt Korenčan, Ulica sv. Barbare z rudniškim magazinom. A scene from Idrija, 1950, watercolour, 31 x 24, bottom left: ]. Trošt 50, the Trošt Korenčan family, St. Barbara's Street with the mine storehouse. Motiv iz Idrije, 1952, akvarel, 26 x 20, d. sp.: ]. Trošt 52, družina Trošt Korenčan, Zagradom. A scene from Idrija, 1952, watercolour, 26 x 20, bottom right: ]. Trošt 52, the Trošt Korenčan family, Zagradom III. Motiv iz Idrije, 1952, akvarel, 25.5 x 20.5, d. sp.: ]. Trošt 52, družina Trošt Korenčan, Zagradom II. A scene from Idrija, 1952, watercolour, 25.5x20.5, bottom right: ]. Trošt 52, the Trošt Korenčan family, Zagradom II. Motiv iz Idrije, 1952, akvarel, 30 x 24, 1. sp.: ]. Trošt 52, družina Trošt Korenčan, Zagradom I. A scene from Idrija, 1952, watercolour, 30 x 24, bottom left: ]. Trošt 52, the Trošt Korenčan family, Zagradom I. v Motiv iz Idrije, 1952, akvarel, 20 x 18.5, d. sp.: ]. Trošt 52, družina Trošt Korenčan, pogled z gradu proti Rižam. A scene from Idrija, 1952, watercolour, 20 x 18.5, bottom right: ]. Trošt 52, the Trošt Korenčan family, a view from the castle towards Riže. Motiv iz Idrije, 1952, akvarel, 32 x 24, d. sp.: ]. Trošt 52, družina Trošt Korenčan, pogled proti Kresu. A scene from Idrija, 1952, watercolour, 32 x 24, bottom right: ]. Trošt 52, the Trošt Korenčan family, a view towards Kres. Motiv iz Idrije, 1952, akvarel, 18 x 21, d. sp.: ]. Trošt 52, družina Trošt Korenčan, Zagradom, Študentovska ulica. A scene from Idrija, 1952, watercolour, 18 x 21, bottom right: ]. Trošt 52, the Trošt Korenčan family, Zagradom, Študentovska Street. m Motiv iz Idrije, 1952, akvarel, 17.5 )< 19, d. sp.: ]. Trošt 52, družina Trošt Korenčan, Študentovska ulica. A scene from Idrija, 1952, watercolour, 17.5 )< 19, bottom right: ]. Trošt 52, the Trošt Korenčan family, Študentovska Street. -TJ . J ■T Motiv iz Idrije, 1952, akvarel, 26 x 22, d. sp.: ]. Trošt 52, družina Trošt Korenčan, Prelovčeva ulica. A scene from Idrija, 1952, watercolour, 26 x 22. bottom right: ]. Trošt 52, the Trošt Korenčan family, Prelovčeva Stret. Motiv iz Idrije, 1952, akvarel, 17.5 x 18.5, d. sp.: ]. Trošt 52, družina Trošt Korenčan, na Tomu, Kosovelova ulica. A scene from Idrija, 1952, watercolour, 17.5 x 18.5, bottom right: ]. Trošt 52, the Trošt Korenčan family, at Tom, Kosovelova Street. Motiv iz Idrije, 1952, akvarel, TI x 24.5, 1. sp.: ]. Trošt 52, družina Trošt Korenčan, pogled proti Rižam. A scene from Idrija, 1952, watercolour, 27 x 24.5, bottom left: ]. Trošt 52, the Trošt Korenčan family, a view towards Riže. Motiv iz Idrije, 1951, akvarel, 28 x 22, d. sp.: ]. Trošt 51, družina Trošt Korenčan, grad Gewerkenegg. A scene from Idrija, 1951, watercolour, 28 x 22, bottom right: ]. Trošt 51, the Trošt Korenčan family, a view of Gewerkenegg Castle. Motiv iz Idrije, 1951, akvarel, 20.5 x 18, d. sp.: ]. Trošt 51, družina Trošt Korenčan, pogled z Riž proti gradu Gewerkenegg. A scene from Idrija, 1951, watercolour, 20.5 x 18, bottom right: ]. Trošt 51, the Trošt Korenčan family, a view from Riže towards Gewerkenegg Castle. 's-1' Motiv iz Idrije, 1952, akvarel, 26 x 17.5, 1. sp.: ]. Trošt 52, družina Trošt Korenčan, pogled iz kavarne proti Ulici sv. Barbare. A scene from Idrija, 1952, watercolour, 26 x 17.5, bottom left: ]. Trošt 52, the Trošt Korenčan family, a view from the coffee house towards St. Barbara's Street. Motiv iz Idrije, 1952, akvarel, 19 x 22,5, 1. sp.: ]. Trošt 52, družina Trošt Korenčan, pogled na Bašerijo. A scene from Idrija, 1952, watercolour, 19 x 22.5, bottom left: ]. Trošt 52, the Trošt Korenčan family, a view of Bašerija. Motiv iz Idrije, 1952, akvarel, 18 x 20, 1. sp.: ]. Trošt 52, družina Trošt Korenčan, Rožna ulica IV. A scene from Idrija, 1952, watercolour, 18 x 20, bottom left: ]. Trošt 52, the Trošt Korenčan family. Rožna Street IV. J Motiv iz Spodnje Idrije, 1952, akvarel, 20 x 18.5, d. sp.: ]. Trošt 52, družina Trošt Korenčan, cerkev Marije na Skalci v Spodnji Idriji. A scene from Spodnja Idrija, 1952, watercolour, 20 x 18.5, bottom right: ]. Trošt 52, the Trošt Korenčan family, the church of 'Marija na Skalci' in Spodnja Idrija. Motiv iz Idrije, 1952, akvarel, 23 )< 26, d. sp.: ]. Trošt 52, družina Trošt Korenčan, ob rudniškem gledališču. Ulica sv. Barbare. Motiv iz Idrije, 1953, akvarel, 24.5 )< 19, d. sp.: ]. Trošt 1953, družina Trošt Korenčan, nadvoz preko Rožne ulice iz Frančiškovega jaška. Motiv iz Idrije, 8. 5.1952, akvarel, 18.5 )< 16, d. sp.: ]. Trošt 8. 5.1952, družina Trošt Korenčan, Rožna ulica I. Motiv iz Idrije, 1953, akvarel, 34.5 )< 26, 1. sp.: Janko Trošt 1953, družina Trošt Korenčan. Motiv iz Idrije, 1953, akvarel, 20.5 )< 17, 1. sp.: ]. Trošt 1953, družina Trošt Korenčan, Zagradom. Motiv iz Idrije, 1953, akvarel, 21 x 17, 1. sp.: ]. Trošt 1953, družina Trošt Korenčan, Podgorami V, pri Balantonu. Motiv iz Idrije, 1953, akvarel, 22 x 15, 1. sp.: ]. Trošt 1953, družina Trošt Korenčan, Ferjančičeva in Kogejeva hiša na Lenštatu. Motiv iz Idrije, 1953, akvarel, 23.5 )< 15.5, d. sp.: ]. Trošt 1953, družina Trošt Korenčan, rudarske hiše na Bazoviški ulici. Motiv iz Idrije, 1953, akvarel, 21 x 14.5, 1. sp.: ]. Trošt 1953, družina Trošt Korenčan, Šraj, Grilc. Motiv iz Idrije, 1954, akvarel, 18 x 23.5, d. sp.: ]. Trošt 1954, družina Trošt Korenčan, stavba kamšti. A scene from Idrija, 1952, watercolour, 23 x 26, bottom right: ]. Trošt 52, the Trošt Korenčan family, by the mine theatre, St. Barbara's Street. A scene from Idrija, 1953, watercolour, 24.5 x 19, bottom right: ]. Trošt 1953, the Trošt Korenčan family, the road bridge across Rožna Street from Frančišek shaft. A scene from Idrija, 8. 5.1952, watercolour, 18.5 x 16, bottom right: ]. Trošt 8. 5.1952, the Trošt Korenčan family. Rožna Street I. A scene from Idrija, 1953, watercolour, 34.5 x 26, bottom left: Janko Trošt, 1953, the Trošt Korenčan family. A scene from Idrija, 1953, watercolour, 20.5 x 17, bottom left: ]. Trošt. 1953, the Trošt Korenčan family, Zagradom. A scene from Idrija, 1953, waattercolour, 21 x 17, bottom left: ]. Trošt 1953, the Trošt Korenčan family, Podgorami V, at Balanton. A scene from Idrija, 1953, watercolour, 22 x 15, bottom left: ]. Trošt 1953, the Trošt Korenčan family, at Lenštat, Ferjančič, Kogej. A scene from Idrija, 1953, watercolour, 23.5x15.5, bottom right: ]. Trošt 1953, the Trošt Korenčan family, miners' houses. Bazoviška Street. A scene from Idrija, 1953, watercolour, 21 x 14.5, bottom left: ]. Trošt 1953, the Trošt Korenčan family, Šraj, Grilc. A scene from Idrija, 1954, watercolour, 18 x 23.5, bottom right: ]. Trošt 1954, the Trošt Korenčan family, the pumping station building. Motiv iz Idrije, 1953, akvarel, 24 )< 16.5, d. sp.: ]. Trošt 1953, družina Trošt Korenčan, staro župnišče. Motiv iz Idrije, 1953, akvarel, 22 x 20, d. sp.: ]. Trošt 1953, družina Trošt Korenčan, potok Nikova in Kosovelova ulica. Motiv iz Idrije, 1953, akvarel, 24 )< 20.5, d. sp.: ]. Trošt 1953, družina Trošt Korenčan, rojstna hiša Ludvika Grilca. A scene from Idrija, 1953, watercolour, 24 )< 16.5, bottom right: ]. Trošt 1953, the Trošt Korenčan family, the old presbytery. A scene from Idrija, 1953, watercolour, 22 x 20, bottom right: ]. Trošt 1953, the Trošt Korenčan family, by the Nikova Brook and Kosovelova Street. A scene from Idrija, 1953, watercolour, 24 )< 20.5, bottom right: J.Trošt 1953, the Trošt Korenčan family, the birthplace of Ludvik Grilc. Motiv iz Idrije, 1953, akvarel, 22 x 16.5, d. sp.: ]. Trošt 1953, družina Trošt Korenčan, most pri Bašeriji. Motiv iz Idrije, 1953, akvarel, 24 )< 20, 1. sp.: A. Vončina 1948, cop. ]. Trošt 1953, družina Trošt Korenčan, ruševine cerkve sv. Barbare leta 1948. Motiv iz Idrije, 1953, akvarel, 22.5 )< 18, d. sp.: ]. Trošt 1953, družina Trošt Korenčan, Podgore. Motiv iz Idrije, 1954, akvarel, 18 x 22.5, d. sp.: ]. Trošt 1954, družina Trošt Korenčan. A scene from Idrija, 1953, watercolour, 22 x 16.5, bottom right: ]. Trošt 1953, the Trošt Korenčan family, the bridge at Bašerija. A scene from Idrija, 1953, watercolour, 24 x 20, bottom left: A. Vončina 1948, cop. ]. Trošt 1953, the Trošt Korenčan family, ruins of St. Barbara's Church in 1948. A scene from Idrija, 1953, watercolour, 22.5 x 18, bottom right: ]. Trošt 1953, the Trošt Korenčan family, Podgore. A scene from Idrija, 1954, watercolour, 18 x 22.5, bottom right: ]. Trošt 1954, the Trošt Korenčan family. Motiv iz Idrije, 1953, akvarel, 22.5 x 18.5, d. sp.: ]. Trošt 1953, družina Trošt Korenčan, Ulica sv. Barbare. A scene from Idrija, 1953, watercolour, 22.5 x 18.5, bottom right: ]. Trošt 1953, the Trošt Korenčan family, St. Barbara Street. Motiv iz Idrije, 1953, akvarel, 21.5 x 17, d. sp.: ]. Trošt 1953, družina Trošt Korenčan, Scopolijeva hiša - Švica. A scene from Idrija, 1953, watercolour, 21.5 x 17, bottom right: ]. Trošt 1953, the Trošt Korenčan family, Scopoli's house - Switzerland. Motiv iz Idrije, 1953, akvarel, 22.5 x 15, d. sp.: ]. Trošt 1953, družina Trošt Korenčan, gotski portal nekdanje čipkarske šole. A scene from Idrija, 1953, watercolour, 22.5 x 15, bottom right: ]. Trošt 1953, the Trošt Korenčan family, a Gothic portal at the former lace-making school. Motiv iz Idrije, 1953, akvarel, 17.5 )< 20, L. sp.: ]. Trošt 1953, družina Trošt Korenčan, pogled s trga proti Kurjemu vrhu. A scene from Idrija, 1953, watercoLour, 17.5 )< 20, bottom Left: ]. Trošt 1953, the Trošt Korenčan family, a view from the square towards Kurji vrh. Motiv iz Idrije, 1953, akvarel, 23 )< 19, d. sp.: ]. Trošt 1953, družina Trošt Korenčan, hiša na koncu Rožne ulice. A scene from Idrija, 1953, watercolour, 23 )< 19, bottom right: ]. Trošt 1953, the Trošt Korenčan family, a house at the end of Rožna Street. Motiv iz Idrije, 1953, akvarel, 25 )< 17, d. sp.: ]. Trošt 1953, družina Trošt Korenčan, Podgore I. Motiv iz Idrije, 1953, akvarel, 21x21, 1. sp.: ]. Trošt 1953, družina Trošt Korenčan, Podgore II. Motiv iz Idrije, 1953, akvarel, 21 x 17, d. sp.: ]. Trošt 1953, družina Trošt Korenčan, Podgore III. Motiv iz Idrije, 1953, akvarel, 18.5 )< 22.5, d. sp.: ]. Trošt 1953, družina Trošt Korenčan, Ferjančičeva hiša na Lenštatu. A scene from Idrija, 1953, watercolour, 25 )< 17, bottom right: ]. Trošt 1953, the Trošt Korenčan family, Podgore I. A scene from Idrija, 1953, watercolour, 21 x 21, bottom left: ]. Trošt 1953, the Trošt Korenčan family, Podgore II. A scene from Idrija, 1953, watercolour, 21 x 17, bottom right: ]. Trošt 1953, the Trošt Korenčan family, Podgore III. A scene from Idrija, 1953, watercolour, 18.5x22.5, bottom right: ]. Trošt 1953, the Trošt Korenčan family, at Lenštat, Ferjančeva house. Motiv iz Idrije, 1953, akvarel, 24 x 17, d. sp.: Janko Trošt 1953, družina Trošt Korenčan, debela skala z visečim mostom. Motiv iz Idrije, 1953, akvarel, 19 x 21, d. sp.: ]. Trošt 1953, družina Trošt Korenčan, Rožna ulica V. A scene from Idrija, 1953, watercolour, 24 x 17, bottom right: Janko Trošt 1953, the Trošt Korenčan family. Debela skala with the hanging bridge. A scene from Idrija, 1953, watercolour, 19 x 21, bottom right: ]. Trošt 1953, the Trošt Korenčan family. Rožna Street V. Motiv iz Idrije, 1953, akvarel, 23 x 21, d. sp.: ]. Trošt 1953, družina Trošt Korenčan, za Bašerijo. Motiv iz Idrije, 1950, akvarel, 24 x 14.5, 1. sp.: ]. Trošt 1950, družina Trošt Korenčan, pomlad v Rižah. A scene from Idrija, 1953, watercolour, 23 x 21, bottom right: ]. Trošt 1953, the Trošt Korenčan family, behind Bašerija. A scene from Idrija, 1950, watercolour, 24 x 14.5, bottom left: ]. Trošt 1950, the Trošt Korenčan family, springtime in Riže. Motiv iz Idrije, 1953, akvarel, 25 )< 23, d. sp.: ]. Trošt 1953, družina Trošt Korenčan, struga Nikove. Ribnica: grajski mlin, 1940, akvarel, 21 x 18, 1. sp.: ]. Trošt 1957, družina Trošt Korenčan. A scene from Idrija, 1953, watercolour, 25 )< 23, bottom right ]. Trošt 1953, the Trošt Korenčan family, the river-bed of Nikova Brook. Ribnica: Ribnica Mill, 1940, watercolour,, 21 )< 18, bottom left: ]. Trošt 1957, the Trošt Korenčan family. Motiv iz Ribnice, /, akvarel, 19 )< 14, /, družina Trošt Korenčan, pogled proti cerkvi, zadružnemu domu in Oničevi hiši. A scene from Ribnica, /, watercolour, 19 )< 14 /, the Trošt Korenčan family, a view towards the church, the cooperative house and Oničeva House. Ribnica: trg z dekliško ljudsko šolo, 1936, akvarel, 19 )< 17, /, družina Trošt Korenčan. Ribnica: the square with the girls' primary school, 1936, watercolour, paper, 19 )< 17, /, The Trošt Korenčan family. Ribnica: Logar-Štekličkov vogal, 1938, akvarel, 19.5 )< 18, /, družina Trošt Korenčan. Ribnica: the Logar-Štekliček corner, 1938, watercolour, 19.5 )< 18, /, the Trošt Korenčan family. Motiv iz Ribnice, 1956, akvarel, 16.5 )< 21, d. sp.: ]. Trošt 1956, družina Trošt Korenčan, P"! r ^^ pogled na francoski most, zadaj cerkev (brez f - , zvonikov) in grad. A scene from Ribnica, 1956, watercolour, 16.5x21, bottom right: ]. Trošt 1956, the Trošt Korenčan family, a view towards the French bridge, the church in the background (with no bell towers) and the castle. Ribnica: Miklova lipa, akvarel, 24 )< 17.5, /, družina Trošt Korenčan. Ribnica: Miklova lime tree, 1916, watercolour, 24x17.5, /, the Trošt Korenčan family. t J'," - « Loški potok: Tabor iz Šegove vasi, 1954, akvarel, papir, 18.5x23.5, /, družina Trošt Korenčan. Loški potok: Tabor from Šegova Village, 1954, watercolour, 18.5 x 23.5, /, the Trošt Korenčan family. - Podsmreka: rojstni dom Josipa Stritarja, 1932, akvarel, 18.5 x 20, /, družina Trošt Korenčan. Podsmreka: The birthplace of Josip Stritar, 1932, watercolour, 18.5 x 20, /, the Trošt Korenčan family. Jelenov žleb: spomenik, 1959, akvarel, 21 x 15, /, družina Trošt Korenčan. Jelenov žleb: monument, 1959, watercolour, 21x15, /, the Trošt Korenčan family. Jurjevica, 1961, akvarel, 17.5 x 21,1. sp.: J. Trošt 1961, družina Trošt Korenčan. Jurjevica, 1961, watercolour, paper, 17.5 x 21, bottom left: J. Trošt 1961, the Trošt Korenčan family. stari grad, 1926, akvarel, 16 x 21, /, družina Trošt Korenčan, razvalina ortneškega gradu. The Old Castle, 1926, watercolour, 16x21, /, the Trošt Korenčan family, Ortnek Castle ruins. f - Ribnica: vhod v grad, 1938, akvarel, 13.5 )< 13, /, družina Trošt Korenčan. Ribnica: entrance to the castle, 1938, watercolour, 13.5x13, /, the Trošt Korenčan family. 1 I 1 Loški potok: na Hribu, 1954 akvarel, 17.5 x 25, /, družina Trošt Korenčan. Loški Potok: in the area of Hrib, 1954 watercolour, 17.5x25, /, the Trošt Korenčan family. Vinice: rojstna vas dr Ivana Prijatelja, 1951, akvarel, 17.5x25.5, d. sp.: ]. Trošt 56, družina Trošt Korenčan. Vinice: the birth village of Dr. Ivan Prijatelj, 1951, watercolour, 17.5 x 25.5, bottom right: ]. Trošt 56, the Trošt Korenčan family. Oplenca: rojstni dom dr Ivana Lovrenčiča, 1954 akvarel, 15 x 16, /, družina Trošt Korenčan. Oplenca: the birthplace of Dr Ivan Lovrenčič, 1954 watercolour, 15 x 16, /, the Trošt Korenčan family. Motiv iz Loškega Potoka, akvarel, 17.5 x 25.5, /, družina Trošt Korenčan, na hribu cerkvi sv. Lenarta in sv. Barbare s pokopališčem. Ribnica: grajsko dvorišče, 1938, akvarel, 13.5x12.5, /, družina Trošt Korenčan. A scene from Loški Potok, watercolour, 17.5x25.5, /, the Trošt Korenčan family, St. Leonard's and St. Barbara's churches on the hill with a cemetery. Ribnica: the castle courtyard, 1938, watercolour, 13.5x12.5, /, the Trošt Korenčan family. Vinice: rojstni dom dr. Ivana Prijatelja, 1938, akvarel, 21.5x16, d. sp.: ]. Trošt 38, družina Trošt Korenčan. Vinice: the birthplace of Dr. Ivan Prijatelj, 1951, watercolour, 21.5 x 16, bottom right: ]. Trošt 38, the Trošt Korenčan family. Hiša, /, akvarel, 16.5 x 18.5, /, družina Trošt Korenčan. A house, /, watercolour, 16,5 x 18,5, /, the Trošt Korenčan family. Spodnje Retje: Ilijev kozolec, 1935, akvarel, 18.5x12, d. sp.: ]. Trošt 35, družina Trošt Korenčan, Spodnje Retje: llija's hayrack, 1935, watercolour, 18.5x12, bottom right: ]. Trošt 35, the Trošt Korenčan family. Ribnica: za grajskim ozidjem, 1936, akvarel, 17.5x15, /, družina Trošt Korenčan. Ribnica: behind the castle walls, 1936, watercolour, 17.5x15, /, the Trošt Korenčan family. Motiv iz Ribnice, 1961, akvarel, 17.5 )< 25, d. sp.: ]. Trošt 1961, družina Trošt Korenčan, pogled proti trgu, izstopa farna cerkev, zadaj pobočje Velike gore. Ribnica: Struška ulica, 1954, akvarel, 25 )< 16.5, /, družina Trošt Korenčan. A scene from Ribnica, 1961, watercolour, 17.5x25, bottom right: ]. Trošt 1961, the Trošt Korenčan family, a view of the front side of the Ribnica Church; Velika gora in the background. Ribnica: from Struška Street, 1954 watercolour, 25x16.5, /, the Trošt Korenčan family. ■A - ■■ --r . Ribnica: Piltaverjeva hiša, 1928, akvarel, 19 x 17, /, družina Trošt Korenčan, na tem mestu je bila zgrajena ribniška posojilnica. Ribnica: the Piltaver house, 1928, watercolour, 19 x 17, /, the Trošt Korenčan family, the present-day loan bank. A. Ribnica: Cenetova gostilna, 1956, akvarel, 19.5 x 16, /, družina Trošt Korenčan, v vojni poškodovana Cenetova gostilna. Ribnica: Cene's Inn, 1956, watercolour, 19.5 x 16, /, the Trošt Korenčan family, Cene's Inn damaged during the war. Ruševine brškega gradu, 1939, akvarel, papir, 24 x 14.5, /, družina Trošt Korenčan. Breg: remnants of Breg Castle, 1939, watercolour, 24x14.5, /, the Trošt Korenčan family. Ribnica: pred gradom, 1938, akvarel, 18.5 x 11.5, /, družina Trošt Korenčan, pogled na grajski most, ribniško cerkev in del gradu. Ribnica: in front of the castle, 1938, watercolour, 18.5 x 11.5, /, the Trošt Korenčan family, a view of the castle bridge, the Ribnica church and a part of the castle. Ribnica: Johanovo dvorišče, 1937, akvarel, 23 x 17, d. sp.: ]. Trošt 1937, družina Trošt Korenčan. Ribnica: Johan's courtyard, 1937, watercolour, 23 x 17, bottom right: ]. Trošt 1937, the Trošt Korenčan family. Ribniške Benetke, /, akvarel, 21 x 18, /, družina Trošt Korenčan. The Venice of Ribnica, /, watercolour, 21 x 18, /, the Trošt Korenčan family. Mlin, 1935, akvarel, 22x21, d. sp.: ]. Trošt 35, družina Trošt Korenčan. Mili, 1935, watercolour, 22 x 21, bottom right: ]. Trošt 35, the Trošt Korenčan family. Motiv iz Ribnice,/, akvarel, 17 x 16, /, družina Trošt Korenčan, Ribnica pred letom 1866, pogled od Miklove hiše proti cerkvi. A scene from Ribnica, /, watercolour, 17 x 16, /, the Trošt Korenčan family, Ribnica prior to the year 1866, a view from Miklova House towards the church. Motiv iz Ribnice, 1955, akvarel, 24 x 31 d. sp.: ]. Trošt 55, družina Trošt Korenčan, pogled na francoski most, grad in cerkev. A scene from Ribnica, 1955, watercolour, 24x31, bottom right: ]. Trošt 55, the Trošt Korenčan family, a view of the French bridge, the castle and the church. Motiv iz Ribnice, 1962, tempera, 21 x 32, L. sp.: ]. Trost 1962, družina Trost Korenčan, vas, desno štiri drevesa in kapelica. A scene from Ribnica, 1962, tempera, paper, 21x32, bottom Left: ]. Trost 1962, the Trost Korenčan family, the village, four trees and a chapel on the right side. Motiv iz Ribnice, /, akvarel, 25x35, /, družina Trost Korenčan, pogled proti trgu iz kočevske strani. A scene from Ribnica, /, watercolour, 25 x 35, /, the Trost Korenčan family, a view towards Ribnica square from the direction of Kočevje. Motiv iz Ribnice, 1962, akvarel, 13.5 x 24, d. sp.: ]. Trošt 1962, družina Trošt Korenčan, pogled na francoski most, grad, cerkev in hiše na levem bregu. A scene from Ribnica, 1962, watercolour, 13.5 x 24 bottom right: ]. Trošt 1962, the Trošt Korenčan family, a view of the French bridge, the castle, the church and some houses on the left riverbank. Motiv iz Ribnice, 1960, akvarel, 29 x 24.5, d. sp.: ]. Trošt 1960, družina Trošt Korenčan, pogled proti cerkvi, zadružnemu domu in Oničevi hiši. A scene from Ribnica, 1960, watercolour, 29 x 24.5, bottom right: ]. Trošt 1960, the Trošt Korenčan family, a view of the church, the cooperative house and Oničeva House. Motiv iz Ribnice, /, akvarel, 30.5 x 27, /, družina Trošt Korenčan, pogled proti cerkvi, dekliški šoli in Oničevi hiši. A scene from Ribnica, /, watercolour, 30.5 x 27, /, the Trošt Korenčan family, a view of the Ribnica church, the girls' school and Oničeva House. Motiv iz Ribnice, /, tempera, lesonit, 23.5 x 22, /, družina Trošt Korenčan, pogled proti cerkvi, zadružnemu domu in Oničevi hiši. Motiv iz Ribnice, 1964, akvarel, 21.5 x 25.5, 1. sp.: ]. Trošt 64, družina Trošt Korenčan, pogled z obzidja gradu čez reko Bistrico. A scene from Ribnica, /, watercolour, hardboard, 23.5x22, /, the Trošt Korenčan family, a view of the church, the cooperative house and Oničeva House. A scene from Ribnica, 1964, watercolour, 21.5x25.5, bottom left: ]. Trošt 64, the Trošt Korenčan family, a view from the castle across the Bistrica River Motiv iz Ribnice, /, tempera, lesonit, 22.5 x 22, /, družina Trošt Korenčan, pogled proti vhodu v grad. Motiv iz Ribnice, /, tempera, lesonit, 24 x 31.5, /, družina Trošt Korenčan, pogled proti Ribnici, v ozadju Velika gora. Motiv iz Ribnice, 1958, tempera, lesonit, 23.5x21, d. sp.: ]. Trošt 58, družina Trošt Korenčan, pogled proti cerkvi, zadružnemu domu in Oničevi hiši. A scene from Ribnica, /, tempera, hardboard, 22.5x22, /, the Trošt Korenčan family, a view of the castle entrance across the bridge. A scene from Ribnica, /, tempera, 24 x 31.5, /, the Trošt Korenčan family, a view towards Ribnica; Velika gora in the background. A scene from Ribnica, 1958, tempera, hardboard, 23.5x21, bottom right: ]. Trošt 58, the Trošt Korenčan family, the Ribnica church, the cooperative house and Oničeva House. Motiv iz Ribnice, 1959, akvarel, 28 x 34.5, d. sp.: ]. Trošt 1959, družina Trošt Korenčan, pogled na francoski most, grad, cerkev (na zvonikih gradbeni odri). A scene from Ribnica, 1959, watercolour, paper, 28 x 34.5, bottom right: ]. Trošt 1959, the Trošt Korenčan family, a view of the bridge, the castle, the church (scaffolding for the construction of bell towers erected). Motiv iz Ribnice, /, olje. Lesonit, 34 )< 53.5, /, družina Trošt Korenčan, pogled na ribniški most in grad, zadaj cerkev, okvirje delo Janka Trošta. Motiv iz Spodnje Idrije, /, olje. Lesonit, 48 x 38, /, družina Trošt Korenčan, pogled na cerkev Marija na SkaLci v Spodnji Idriji, okvirje delo Janka Trošta. Mestni trg, 1953, olje. Lesonit, 47 )< 63, d. sp.: ]. Trošt Idrija 1953, družina Trošt Korenčan, Mestni trg v Idriji s sprehajalci. Kuhanje oglja, 1953, akvarel, papir, 16 x 24, d. sp.: ]. Trošt 53, družina Trošt Korenčan, zgodovinski prizor iz Idrije. A scene from Ribnica, /, oil, hardboard, 34 )< 53.5, /, the Trošt Korenčan family, a view of the Ribnica bridge and the castle; the church in the background. The frame was made by Janko Trošt. A scene from Spodnja Idrija, /, oil, hardboard, 48x38, /, the Trošt Korenčan family, a view of the Church of "Marija na Skalci" in Spodnja Idrija; the frame was made by Janko Trošt. Town square, 1953, oil, hardboard, 47 x 63, bottom right: ]. Trošt Idrija 1953, the Trošt Korenčan family, the town square in Idrija with strollers. Charcoal burning in the woods of Idrija, 1953, watercolour, 16 x 24, bottom right: ]. Trošt. 53, the Trošt Korenčan family. Tovorniki živega srebra, 1953, akvarel, 18 x 24, d. sp.: ]. Trošt 53, družina Trošt Korenčan. Škafar, 1953, akvarel, 24 x 18,5, d. sp.: ]. Trošt. 53, družina Trošt Korenčan, škafar v potoku odkrije živo srebro. Mercury transporters, 1953, watercolour, 18x24, bottom right: ]. Trošt. 53, the Trošt Korenčan family. "Škafar", a tub maker, 1953, watercolour, 24 X 18.5, bottom right: ]. Trošt. 53, the Trošt Korenčan family, a tub maker discovers mercury in a well. Marija z Jezusom, /, olje, platno, 65 x 49, /, družina Trošt Korenčan, Marija v modrem ob spečem Jezusu. Portret Stanislave Trošt, /, olje, platno, 25.5 x 21, /, družina Trošt Korenčan, portret nečakinje Stanislave Trošt, poročene Korenčan. Mary with Jesus, /, oil, canvas, 65 x 49, /, the Trošt Korenčan family, Mary in blue next to the sleeping Jesus. A portrait of Stanislava Trošt, /, oil, canvas, 25.5 x 21, /, the Trošt Korenčan family, a portrait of Trošfs niece - Stanislava Trošt (married name: Korenčan). Domačija, 1911, akvarel, 17 x 22, d. sp.: 10. X. 1911 Jan. Trošt, družina Trošt Korenčan, rojstna hiša očeta Iva Trošta na Colu. A farmhouse, 1911, watercolour, canvas, 17 x 22, bottom right: 10. X . 1911 Jan. Trošt, the Trošt Korenčan family, the birthplace of Janko Trošfs father Ivo in Col. Motiv iz Ribnice, /, tempera, les, 24 x 22, /, družina Trošt Korenčan, mož s svetilko in mož s konjem pri vhodu v grad. A scene from Ribnica, /, tempera, wood, 24 x 22, /, the Trošt Korenčan family, a man with a lamp and a man with a horse at the entrance to the Ribnica castle. Dvorišče ribniškega gradu, /, olje, lesonit, 28 x 24, /, družina Trošt Korenčan. The Ribnica castle courtyard, /, oil, hardboard, 28x24, /, the Trošt Korenčan family. Vhod v ribniški grad, /, olje. Lesonit, 28.5 )< 23, /, družina Trošt Korenčan. Entrance to the Ribnica Castle, /, oil, hardboard, 28.5 x23, /, the Trošt Korenčan family. Gustav, 1916, olje, platno, 66 x 50, d. sp.: ]. Trošt, 19/VI/1916, družina Korenčan jun., Gustav z lepotico, verjetno Črnogorko. Gustav, 1916, oil on canvas, 66 x 50, bottom right: ]. Trošt, 19/VI/1916, the Korenčan jun. family, Gustav with a beautiful woman; she is most likely from Montenegro. Pula, 1956, akvarel, 24 x 17, d. sp.: ]. Trošt, 1956, družina Trošt Korenčan, palače v beneškem stilu. Pula, 1956, akvarel, 15 x 27, d. sp.: ]. Trošt, družina Trošt Korenčan, verjetno stara mestna hiša z rimskim smetiščem na levi strani slike. Pula, 1956, akvarel, 23.5 x 17, /, družina Korenčan jun., fasada starejše hiše, verjetno v Puli. Pula, 1955, akvarel, 13.5 x 20, d. sp.: ]. Trošt 55, družina Korenčan jun., detajl obale, verjetno Verudela. Loški Potok, 1962, akvarel, 16 x 23.5, /, družina Korenčan jun., pogled s ceste na cerkev v Loškem Potoku. Ribniška okolica, 1962, akvarel, 18.5 x 22.5, /, družina Korenčan jun., verjetno Mala Gora s cerkvico. Ribniška okolica, 1962, akvarel, 20 x 26.5, L sp.: ]. Trošt. 62, družina Korenčan jun., hiša z gozdnim ozadjem. Idrija, 1953, akvarel, 25 X 20, L sp.: \. Trošt 53, družina Korenčan jun., pogled na cerkev sv. Antona. Pula - serija osmih slik, 1959, žgano na les, 18 x 14, /, Trošt Korenčan, različni motivi zgodovinskih objektov iz Pule. Puljska arena, 1956, olje, lesonit, 22 x 30, d. sp.: ]. Trošt 56, družina Trošt Korenčan, del puljske arene. Idrija - most na skali, 1953, akril, lesonit, 27.5 x 33, d. sp.: ]. Trošt 53, družina Trošt Korenčan, most na skali ob cesti, ki vodi iz Logatca v Idrijo. Tomišelj - stara šola s cerkvijo v ozadju, /, akril, lepenka, 20 x 22, /, družina Trošt Korenčan, pogled na del vasi Tomišelj, zadnje službeno mesto gospoda Iva Trošta, očeta Janka Trošta. Bled s kozolci, 1926, akril, lesonit, 48 x 53, d. sp.: ]. Trošt, 1926, družina Trošt-Korenčan, pogled na grad in del blejskega otoka s kozolci v ospredju. Pokrajina z mlinom, /, olje, platno, 42 x 35, /, družina Trošt Korenčan, hiša - mlin z gorami v ozadju. Pula, 1956, watercolour, 24 x 17, bottom right: ]. Trošt, 1956, the Trošt Korenčan family, palaces in Venetian style. Pula, 1956, watercolour, 15 x 27, bottom right: ]. Trošt, the Trošt Korenčan family, most likely an old town house with a Roman landfill on the leftside. Pula, 1956, watercolour, 23.5 x 17, /, the Korenčan jun. family, a facade of an older house, probably in Pula. Pula, 1955, watercolour, 13.5 x 20, bottom right: ]. Trošt 55, the Korenčan jun. family, a beach detail, probably Verudela. Loški Potok, 1962, watercolour, 16 x 23.5, /, the Korenčan jun. family, a view from the road towards the church in Loški Potok. The vicinity of Ribnica, 1962, watercolour, 18.5x22.5, /, the Korenčan jun. family, most likely Mala Gora with a little church. The vicinity of Ribnica, 1962, watercolour, 20 x 26.5, bottom left: ]. Trošt. 62, the Korenčan jun. family, a house with a foresty background. Idrija, 1953, watercolour, 25 x 20, bottom left: I. Trošt 53, the Korenčan jun. family, a view of St. Anthony's Church. Pula - a set of eight pictures, 1959, pyrography -burning on wooden boards, 18 x 14, /, the Trošt Korenčan family various scenes depicting historical buildings in Pula. Pula - Arena, 1956, oil, chipboard, 22 x 30, bottom right: ]. Trošt 56, the Trošt Korenčan family, a part of the Pula Arena (amphitheatre). Idrija - the rock bridge, 1953, acrylic, chipboard, 27.5 x33, bottom right: ]. Trošt 53, the Trošt Korenčan family, a bridge on the rock by the road connecting Logatec and Idrija. Tomišelj - the old school with the church in the background, /, acrylic, cardboard, 20 x 22, /, the Trošt Korenčan family, a view of a part of Tomišelj village; the location of the last post of Mr Ivo Trošt, Janko Trošfs father. Bled with hayracks, 1926, acrylic, chipboard, 48 x 53, bottom right: ]. Trošt, 1926, the Trošt Korenčan family, a view of the castle and a part of the Bled Island with hayracks in the foreground. Landscape with a mill, /, oil, canvas, 42 x 35, /, the Trošt Korenčan family, a house - a mill with mountains in the background. Pogled na Ribnico in grad, 1962, žgano in barvano na Les, 24.5 )< 36.5, L. sp.: ]. Trošt 1962, Nina Munih, most, zadaj ribniški grad in cerkev. A view of Ribnica and the castle, 1962, burnt and coloured on wood, 24.5 )< 36.5, bottom left: ]. Trošt 1962, Nina Munih the bridge; the Ribnica castle and the church in the background. Ribnican prodaja suho robo, /, žgano in barvano na les, AO )< 48, /, Ivan Šega, na sliki upodobljen Krznarjev oča iz Kota. A peddler selling his wares, /, burnt and coloured on wood, 40 )< 48, /, Ivan Šega, it depicts a peddler, the so-called Krznar's pop from Kot. Marija z detetom, /, olje, platno, 79 )< 107, 1. sp.: M. Tarrant, cop., Metka Kališnik Šavli, ženska v modrem z otrokom v naročju, poleg pastirci. Mary with the baby, /, oil, canvas, 79 )< 107, bottom left, M. Tarrant, cop., Metka Kališnik Šavli a woman in blue with a baby in her arms: there are shepherds next to her. Motiv iz Ribnice, 1931, olje, platno, 40 x 35, d. sp.: ]. Trošt 31, Tanja Debeljak, pogled na trg in cerkev. Motiv iz Spodnje Idrije, 1948, akvarel, 30 x 40, 1. sp.: Idrija 1948 ]. Trošt, Nataša Podboj, pogled na cerkev Marija na Skalci v Spodnji Idriji. A scene from Ribnica, 1931, oil, canvas, 40 x 35, bottom right: ]. Trošt 31, Tanja Debeljak, a view of the square and the church. A scene from Spodnja Idrija, 1948, watercolour, 30 x 40, bottom left: Idrija 1948 ]. Trošt, Nataša Podboj, a view of the the church of 'Marija na Skalci' in Spodnja Idrija. Ribnica: Johanov vrt, /, tempera, papir 30 x 26, /, Urban Arko, Johanov vrt v Ribnici spomladi. Ribnica: Johan's garden, /, oil, canvas, 30 x 26, /, Urban Arko, Johan's garden in Ribnica in the springtime. Ribnica: Johanovo dvorišče, 1926, tempera, papir, 30x26, d. sp.: ]. Trošt 26, Urban Arko. Ribnica: Johan's courtyard, 1926, tempera, paper, 30x26, bottom right: ]. Trošt 26, Urban Arko. Portret, /, olje, platno, 28 x 22, /, Tanja Debeljak, portret neznanega dekleta. Portrait, /, oil, canvas, 28 x 22, /, Tanja Debeljak, the portrait of a unknown girl. Ribniška deputacija kruha, drv in zdravja, 1926, akvarel, 31.5 x 23.5, /, Janko Hren, od leve proti desni so upodobljeni: Ivan Novak, Ivan Križman, Jože Ančik. The Bread, Wood and Health Deputation of Ribnica, 1926, watercolour, 31.5 x 23.5, /, Janko Hren, from left to right: Ivan Novak, Ivan Križman, Jože Ančik. Motiv iz Ribnice, 50. leta 20. stol., olje, platno, 29x39, d. sp.: J. Trošt, Blaž Krže, pogled na francoski most, cerkev in grad. A scene from Ribnica, 1950s, oil, canvas, 29 x 39, bottom right: J. Trošt, Blaž Krže, a view of the French bridge, church and the castle. Motiv iz Ribnice, 1925, pastel, platno, 30 x 49, d. sp.: J. Trošt 25, družina Lavrič Trdan, pogled na francoski most, cerkev in grad. A scene from Ribnica, 1925, oil, pastel, canvas, 30 x 49, bottom right: J. Trošt 25, the Lavrič Trdan family, a view of the bridge; the old Ribnica church in the background. OpLenca - rojstna hiša dr. Ivana Lovrenčiča, 1957, olje. Lesonit, 29 )< 31, d. sp.: ]. Trošt 1957, Rudi Lovšin. OpLenca - the birthpLace of Dr. Ivan Lovrenčič, 1957, oiL, hardboard, 29 )< 31, bottom right: ]. Trošt 1957, Rudi Lovšin. Krošnjar, /, žgano in barvano na Les, )< 27, /, Dijana Drobnič. A peddLer, /, burnt and coLoured on wood, )< 27, /, Dijana Drobnič. Lončar, 1962, žgano in barvano na Les, 48 x 34, d. sp.: ]. Trošt 62, Janko Hren, Lončar prodaja izdeLke, poLeg so tri ženske in otrok. A potter, 1962, burnt and coLoured on wood, 48 x 34, bottom right: ]. Trošt 62, Janko Hren, a potter seLLing his wares; there are three women and a chiLd in the picture as weLL. Ribničan prodaja suho robo, 1964, žgano in barvano na Les, 47 )< 34, d. sp.: ]. Trošt 1964, Janko Hren. A man from Ribnica seLLing his wares, 1964, burnt and coLoured on wood, 47 )< 34, bottom right: ]. Trošt 1964, Janko Hren. Motiv iz Ribnice, 1931, oLje, Lesonit, 29 )< 60, d. sp.: ]. Trošt 31, Tanja DebeLjak, pogLed na francoski most, cerkev in grad, okvirje deLo Janka Trošta. A scene from Ribnica, 1931, oiL, hardboard, 29 )< 60, bottom right: ]. Trošt 31, Tanja DebeLjak, the French bridge, the church and the castLe. The frame was made by Janko Trošt. GostiLniški motiv, /, žgano in barvano na Les, 134x67, d. sp.: ]. Trošt, Nataša Podboj, upodobLjena po Francu MiheLiču, pod upodobitvijo zapis pesmi Urban iz Ribnice. A scene from the inn, /, burnt and coLoured on wood, 134x67, bottom right: ]. Trošt, Nataša Podboj, a depiction based on the artwork Franc MiheLič, at the bottom is text of song Urban from Ribnica. Od tih nashih kapishonu, /, LepLjenka, 43 x 29.5, d. sp.: ]. Trošt, Ana Berce, Marko Burger in Rudi Pirker v vroči razpravi, spodaj je napisan komentar na dogajanje. On These 'Kapišoni' of Ours, /, cardboard, 43 x 29.5, bottom right: ]. Trošt, Ana Berce, the picture shows Marko Burger and Rudi Pirker having a heated discussion. There is a comment on what is going on in the picture written at the bottom. Ribničan prodaja suho robo, /, žgano in barvano na Les, 62x51, d. sp.: ]. Trošt, Urban PeLc, na sLiki je prodajalec suhe robe. Levo spodaj pa kitica iz Ljudske Rib'nčan Urban. A mans from Ribnica seLLing his wares, /, burnt and coLoured on wood, 62 x 51, bottom right: ]. Trošt, Urban PeLc, a wooden ware seLLer; a stanza from the foLk song Urban from Ribnica is in the bottom Left corner. Semenj v Ribnici, /, žgano in barvano na Les, 73 x 192, /, Ivan PeLc, na sredini je trški čuvaj vabi Ljudi, da se zberejo na semanji dan v Ribnici. A fair in Ribnica, /, burnt and coLoured on wood, 73 x 192, /, Ivan PeLc, there is a town guard standing in the middLe; he is caLLing out to peopLe inviting them to get together for the fair day in Ribnica. Mati z otrokom, /, oLje, pLatno, 46 x 42, L. sp.: ]. Trošt, Urban Arko. PogLed na ribniški trg, /, žgano in barvano na Les, /, /, Urban PeLc, v Levem zgornjem kotu je ribniški grb. A mother with her chiLd, /, oiL, canvas, 46 x 42, bottom Left: ]. Trošt, Urban Arko. A view of the Ribnica square, /, burnt and coLoured wood, /, /, Urban PeLc, the Ribnica coat of arms in the top Left corner Ribniški jagri, 1929, tempera, papir, 36 x 65, L.sp.: ]. Trost Foe. 1929, Nataša Podboj. Tu pregajnejne iz krize u Ribenci, 1932, tempera, papir, 62 x 48, /, Ivan Pele, na humoren način prikazuje preganjanje gospodarske krize v Ribnici. Ribniški kapišoni v domačem parlamentu, 1927, tempera, papir, 46.50 x 71, d. sp.: ]oh. Troštvs, Emil Pakiž, na humoren način prikazuje zasedanje ribniškega parlamenta Pri Pakižu, pri peči s ključem v roki sedi lastnik gostilne Emil Pakiž. Suhorobarji pri delu 1, /, žgano in barvano na les, 60 )< 150, /, Rudi Lovšin, na sliki so upodobljeni pintarji, žličarji, ročni mizarji, strugarji in pletarji. Suhorobarji pri delu 2, /, žgano in barvano na les, 60 )< 120, /, Rudi Lovšin, na sliki so upodobljeni obodarji, podnarji in rešetarji. The Hunters of Ribnica, 1929, tempera, paper, 36x65, bottom left: ]. Trošt Foe. 1929, Nataša Podboj. Chasing Away the Crisis in Ribnica, 1932, tempera, paper, 62x48, /, Ivan Pelc, the caricature depicts the crisis in the 1930s in Ribnica. Kapišoni of Ribnica at the Local Parliament, 1926, tempera, paper, 46.50 x 71, bottom right: ]oh. Trostvs, Emil Pakiž, the intellectuals of Ribnica are having a meeting at a table in a local inn. Emil Pakiž, the inn owner, is sitting at the furnace holding a key in his hands. Wooden ware makers doing their work 1, /, burnt and coloured on wood, 60 x 150, /, Rudi Lovšin, the picture shows vessel makers, spoon-makers, woodworkers, turners and wicker-workers. Wooden ware makers doing their work 2, /, burnt and coloured on wood, 60 x 120, /, Rudi Lovšin, the picture shows rim-makers, bottom-makers and sieve-makers. Krošnjarji gredo na pot, 1964, žgano in barvano na les, /, L sp.: ]. Trošt 1964, Nataša Podboj, moški in ženske se s krošnjami in košarami odpravljajo na pot. Umetnik z muzo, /, olje, platno, 71 x 60, L sp.: A. Rolli, cop. ]. Trošt, družina Lavrič Trdan. Sv. Gregor, /, žgano in barvano na les, 72.50x58.50, /, Rudi Lovšin. Peddlers setting off, 1964, burnt and coloured on wood, /, bottom left: ]. Trošt, 1964, Nataša Podboj, the picture depicts men and women setting off with full baskets. An artist with his muse, /, oil, canvas, 71 x 60, bottom left: A. Rolli, cop. ]. Trošt, the Lavrič Trdan family. St. Gregor, /, burnt and coloured on wood, 72.50x58.50, /, Rudi Lovšin. Nova Štifta, /, žgano in barvano na les, 72.50x48.50, /, Rudi Lovšin. Nova Štifta, /, burnt and coloured on wood, 72.50x48.50, /, Rudi Lovšin. Krošnjar, /, žgano in barvano na les, 92.50 x 44, /, Rudi Lovšin, krošnjar s kanonom, v ustih ima pipo. A peddler, /, burnt and coloured on wood, 92.50 X 44, /, Rudi Lovšin, a peddler with a basket brimful of his wares; there is a pipe in his mouth. Pogled na trg Sodražica, /, žgano in barvano na les, 72.50x58.50, /, Rudi Lovšin. A view of the Sodražica Square, /, burnt and coloured on wood, 72.50 x 58.50, /, Rudi Lovšin. Izdajatelja: Muzej Ribnica in Calerija Miklova hiša Published by: Ribnica Museum and Miklova Hiša Gallery Založil: JZ Rokodelski center Ribnica - zavod za rokodelstvo, muzejsko in galerijsko dejavnost Zanj: Polona Rigler Grm Published by: Ribnica Handicraft Centre - an Institute for Handicraft Museum and Gallery Activities Represented by: Polona Rigler Grm Vodenje in koordinacija projekta: mag. Marina Gradišnik, Muzej Ribnica Project management and coordination: Marina Gradišnik, MA, Ribnica Museum Predgovor. Polona Rigler Grm, direktorica Introductory words by: Polona Rigler Grm, managing director Besedila: mag. Marina Gradišnik, Muzej Ribnica; Darko Viler, Mestni Muzej Idrija; Nadja Kovačič, Pokrajinski muzej Kočevje Written by: Marina Gradišnik, MA, Ribnica Museum; Darko Viler, Idrija Municipal Museum; Nadja Kovačič, Kočevje Regional Museum Oblikovna zasnova: Mateja Goršič Designed by: Mateja Goršič Prelom: Barbara Koblar Typesetting by: Barbara Koblar Jezikovni pregled: Petra Knapič Slovene text proofread by: Petra Knapič Prevod: Mateja Žuraj Translated by: Mateja Žuraj Fotografije: Boris Gaberščik, Žiga Lovšin, Marko Burger, Tina Zaje; fototeka SEM: Marko Habič in Igor Omahen; fototeka Muzeja Ribnica; arhiv Turističnega društva Ribnica; Nada Lavrič; družina Oražem Photography by: Boris Gaberščik, Žiga Lovšin, Marko Burger, Tina Zaje; photo library of the Slovene Ethnographic Museum: Marko Habič and Igor Omahen; photo library of the Ribnica Museum; archives of the Tourism Society of Ribnica; Nada Lavrič; the Oražem family Tisk: Tiskarna Hren Printed by: Tiskarna Hren Naklada: 700 izvodov Print run: 700 copies Oktober 2011 October 2011 Izdajo kataloga sta omogočila Ministrstvo za kuluro RS in Občina Ribnica. The issue of the catalogue was financed by the Ministry of Culture RS and the Municipality of Ribnica. CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana 929Trošt].{083.824) GRADIŠNIK, Marina Janko Trošt: 1894-1975 / [besedila Marina Gradišnik, Darko Viler, Nadja Kovačič; prevod Mateja Žuraj; fotografije Boris Gaberščik... et aL]. - Ribnica: Rokodelski center, 2011 ISBN 978-961-92757-3-3 1. GL stv. nasL 2. Viler, Darko 3. Kovačič, Nadja, 1979-258A61440 fl^_^ Muzej Ribnica Museum of Ribnica m i k 1 o v a hiš H galerija ROKODELSKI CENTER RIBNICA POKRAJINSKI MUZEJ KOČEVJE I ^•■•^u I MESTNI MUZEJ IDRIJA 0 ^ ^ ' ^ • republika Slovenija minlstratw za kulturo OBČINA RIBNICA mu^akc etnolog raziskovalec topograf lutkar 00 -vo i CM Nj: : Ln ; : LM; LM ■ karikaturist slikar mentor pisec ^orovodja muzealec etnolog raziskovalec topograf lutk^ar k^arik^aturist slikar mentor pisec zborovodja