FRESKE NA BRDINJAH NAD KOTLJAMI IN NJIHOV UMETNOSTNOZGODO VINSKI POLOŽAJ Tanja G regorovič, Ljubljana Slikarije v podružnični cerkvi sv, Neže na Brdinjah nad Kotljami* oziroma na Vrhe h pri Slovenjem Gradcu' so odkrili v začetku osemdesetih let. Prvič so omenjene ob restavraciji leta 1984,-' podrobneje obravnavane pa so biie dve leti kasneje v diplomski nalogi Tatjane Špitalar. ki jih je uvrstila v furlansko skupino.1 Na gradnjo cerkve se nanaša dokument iz leta 1367, v katerem oglejski patriarh Mark-vard dovoljuje župniku Parthamerju v S marine m pri Slovenjem Gradcu, da postavi kapelo, posvečeno sv. Neži ter mučcncema sv. Primožu in Felicijmiu v Kol-Ijah.4 Omenjeni /upnik je glede na stil fresk po vsej verjetnosti tudi naročnik * Na novoixikrile in še nepublicirane freske meje opozoril prof, dr. Janez HCfler, ki se mu zahvaljujem za ljubezniv osi, da mi je tlal na voljo svoje arhivsko gradivo, nove izsledke o slovenskem Srednjeveškem slikarstvu in me spodbujal pri delu. Prav tako se zahvnlj u -jem kustosu Deželnega muzeja v Celovcu mag, Robertu Wlattnigu, ki mi je prijazno priskrbel delne fotokopije doktorskih disertacij v zvezi s slikarstvom 14, stoletja. 1 Krajevni leksikon Slavenije. /V: Pvdravje in i'omurjc, Ljubljana 1P80. p. i 19. Cerkev sv. Neže na Brdinah(l) se omenja kot po/uugotska stavba iz leta 1554 v okviru kraja Vrhe pri Slovenjem Gradcu. 1 Bine Kovačič, Varstvo spomenikov, XXVJ, 1 'J84 (od tod citirano Kovačič}, p. 307. ' Jatjapa i pi tal ar: No voodkrite gi> tike freske na slo i enskem Šlujersktun: na področju 7ji ■ vodo zfi spomeniško varsrvo Maribor, Ljubljana 1 '186 (od tod citirano Spi t al ar J, pp. 9-11 | d i plomska n aloga, ti pkopi s ]. J Notizenblatt: lieiiugc zurn A rch ivfiir Kunde Ssterrt i C h ischer CtsCh khlsq itellen. S, W i - eti 1853, p. 489. 1367.25/X f"Marquardus Dei gratia S. Sedia Aqitilegensis Patnarcha dilecto nobis in Christo Marijuardo dieto Panhamer Plebano Plcbis S. Martini in valle de Windisgratz n ostre Aijuilegeiisis Diocesis salutem in Domino. Sicut nobis tu a expo-suit de votii« tu d i ligerc decorum domus Domini. Cape! lam unam sub vocabulo S. Agnc-lis el Sanctorum Marty rum Primi et Feliciani cum subsidio populi luecure subject!, pro huju smodi felici opere inierccdentis, proposuisti construere in Plebe etcura tuis, in loeo qui dicitur Cliotelaeh diete nostre DioCcsJ s, el eandem capellam dotare medianle subsidio aniedicto bonis quihus unws Capeilanus celebransdivina officina in aedem, congruc poterit substeman, super quibus nostrum postulasti ¡issensum. Quia igtlur debemus et voluntas prompti in lalibus et favorabiles inveniri, tuis dignis desideriis annuentes in hi i s cum gralo concurrentes ai'fectu, construendi et dificandi C ape 11 am modis stale in: nolcntes cx hoc manricis ccdcsic juri bus iu aliquo de toga re; imo quod cad em Capella sine cinuterio existing, subjeciaexisiat Plehi predicte, proul alicCapcJle in Aquilegen-sis Dioctsi subject existunt. Datum haruin Sub nostri sigl ii iijnpressione litteraruill, Aqu-illgie die XXV. Oetobris anno Domini MCCCLXVII, Indictione ijuinia."). Na doku 41 poslikave, kiji morala nastali sočasno z gradnjo cerkve okoli leta 1370. Za nastanek v 14. stoletju govori tudi sama enoladijska arhitektura z redkim dvošestinsko zaključenim pitebiterijom' s tremi Širokimi, preprostimi oporniki. Na obeh po üevnicah in južni steni so tri sorazmerno velika, kasneje povečana, iilasto zaključena okna. Ladja je prekrita z ravnim lesenim stropom, značilnim za koroške cerkve, prezbitenj pa je obokan. Pet reber z globokim žlebastim profilom" se Stika v okroglem, ploščatem sklepmku in končuje brcz konr.ol s postopnim prehajanjem v steno. Obok je tako razdeljen na pet polj, pri čemer sla vzhodni dve zaradi statičnih zahtev oblikovani kol o bočni kapi. Na severni Kleni prezbitenja SO bila kasneje prebita vrata, ki so danes ponovno zazidana. Na zahodu je cerkvi prizidan zvonik s stoičasto sirebo, ki žaradi treh polkroi.no prebitih odprtin spodaj učinkuje kot vhodna lopa. Poslikava zajema obok in siene prezbiterija ter slavoločno steno. Kljub slab&i ohranjenosti na nekaterih mestih se dajo razbrati vsi prizori Na oboku so naslikani K ris! US Pantokrator in simboli evangelistov, na severni Steni Marijina smrt, na južni Marija zaščitnica s plaščem ter na poševnicah sv. Marjeta in j v. Neža. Na notranji strani slavoločne stene pro l i prezbiteriju so Veroniki ti prt, Kajnov a in Abeiova daritev, na spodnji strani loka pa Štirje preroki. Restavrator Bine Kovačič1 ugotavlja, daje bolje ohranjena poslikava slen izvedena v fresco tehniki, precej poškodovana poslikava oboka, brez gornje barvne plasti v kombiniran i ftesco-seccQ lehnikl, poslikava reber pa zgolj v sicco tehniki. Posebno škodo je utrpela Marijina smrt zaradi kasneje prebitih vrat in Marija zaščitnica s plaščem zaradi povečanega okna. Marijina smrt11 na severni steni pripada bolj redkemu ikonografskemu tipu. za katerega bi težko trdili, da povsem enopomensko pripada severnemu ali Italijan skemu umetnostnemu prostoru,'1 vendar pa se zdi po razpoloženju vseeno bliže ment me je opozoril prüf, dr. Janez Höfler: Janez Höfler: Gradivo za historično topo-grofijo predjotefinskih župnij na Slovenskem, vol. VU K računalniški izpis nn filozofski fakulteti: Prane Kovačič: Zgodovina Lavantinske tkoßje f1228 -1928), Maribor 1 '12K, pp. 108-109, pod istim datumom napačno navaja, da gre za cerkev sv. Fortunata in Felieijana ter jo identificira s sedanjo cerkvijo sv, Marjete v Kutljah; Anton Ožinger: Carlo M d'Attems: Vizttaeije savinjskega arhidiakrinutii goriike nad škofije 1751 - ¡773, Ljubljana 1991.pp 237.290.640. Ob vi/iiaeijskcm popisu 4. V|] 175 lin 28. VI. ! 756 je imela pod ru i nična cerkev sv. Neže tri oltarje - sv. Neie, sv. Jerneja (prenosen, neposvečen) in sv, Agate (neprenosen, neposvečen). 5 Na Koroškem ga najdemo še na samostanski cerkvi ki ari s v Si. Vidu na Glini (St. Vcii a.d. Glan), ki sta ga leta 1323 ustanovi la Konrad von Aufcnstein in njegova tretja iena Dicmut (cf. Dehio-Handbttch. Kärnten, Wien 1981\ p. 625). 8 Ivan Komelj: Gotska arhitektura na Slovenskem. Ljubljana 1973, p, 113. si. i/d, ' Kovačič. p. 307. " Kovačič, p. 307. Prizor razlaga kot Marijin pogreb, čeprav gre nedvomno /a Marijino smrt, saj so apostoli zbrani okoli liiiSča in ne nosijo nosil, J Tako V severnem kakor tudi ital i jansk c m s I i karst v u j e v 14. stoletju naj bolj razi i rje n t i p Marijine smrti v nasledstvu bizantinske tradicije s Kristusom ob ležiSčti z Marijino duSo v rokah. Oba umetnostna pola pa sta pn/uala tudi drugačno, redkejšo upodobitev Kristusa z M arij i no dušo. ki seje Jc dvignil v nebo. Taka prizora imamo v kapeli del I'Arena v Padovi okrog 1320, delu giottovske padovanske delavnice (Arle veneta, XXIV, 1970. p. 11. si. 5), in na neiniki miniaturi nekega lekcionatja z začetka 13. stoletja v Mfinchmi 42 treeeniističnemu slikarstvu. Tri če trt in sko upodobljen Kristus v mandorli, ki jo v razprtih rokah držita dva klečeča angela, se dvigne v nebo in zapusti centru!no mesto med žalujočimi apostoli, ki ga običajno zavzema v prvi polovici 14, stoletja v nasledstvu bizantinske tradicije. Z desnico blagoslavlja, v levici pa drži Marijino dušo, ki moli. Spodaj ob lesenem ležišču 7. Marijo so v vrsii drug ob drugem zbrani apostoli (si. 13) s sklenjenimi rokami, z izproienim kazalcem ali s knjigo v rokah. Med njimi kot posebnost delavnice izstopa "puJkinskt" moški obrazni tip z brado, a brez. brkov, in belolas, bradat starec. Debela črna črta obroblja ogromne, predimenzionirane roke, očrtujc obraze, pro mine nt ne nosove s poudarjenimi nosnimi krili, oči po gornjem robu pove Se ni h vek, ozke pol krožne obrvi in majhna usta. Deli pod obrvmi in spodnji del lic od nosu proti uäesom so osenčeni z rjavo barvo. Na Marijinem oblačilu pri nogah jc opaziti reminiscencc "risarskega" stila, saj draperija mehko pada, tako da se robovi oblikujejo v ušesca in valujoče ikrice. Tu značilnost pa se pri apostolih izgubi, saj njihove halje potekajo v močno mode-liranih. ravnih vzporednih gubah proti tlom, Južno steno v celoti zavzema Marija za Učilnica s plaščem, (si, 15, 16)'" ki z. razprt i nt i rokami ustvarja oglato kompozicijo in s svojo monumental nos tj o spominja na upodobitve sv. Krištofov, Na sredini jc poškodovana zaradi kasneje povečanega okna, ki je utegnilo obstajati že od vsega začetka, le da je bila odprtina manjša in ožja." Frontalna figura z dolgimi kodrastimi lasmi s svetlim pramenom, s strmeči m pogledom izpod povešenih vek, ki daje obrazu hieratičen izraz, Široko razpira plašč. Ta je na zunanji strani poslikan z vitično palmeto v obliki lire, na notranji pa s hermelinskim okrasom." Na robovih se mehko guba v smislu ''risarskega" sloga. Na obeh straneh so v več vrstah drug nad drugim nanizani predstav- ni poudai kom na ikonografij i ženina in nevesle (Cl, Gertrud Schiller; Ikonographie tier christlichen Kunst 4,2: Maria, Gütersloh 198Ö, si. 609). Najbližjo ikonografsko paralelo naši freski pa najdemo na severni zunanjččiru prezbite-rija župnijske cerkve sv. Lenarta v Weißensteinu na Koroškem i/, sredine 14. stoletja ali malo potem, kjer gre / a podnbcn ikonografsko-kompozicijski lip z dopasnim Kristusom z Marijino dušo v mandorli, že dvignjeni m v nebo, in spodaj stoječimi, žalujočimi apo-sloli ob Marijinem leiiSčli-11 KovaCič, p 307. Meni, dftgre Za pri/.or sv. Neže /. verniki, kar povzema tudi äpitalarje va v svoji diplomski nalogi, Ta razlaga pri/ora je manj verjel na. saj jc sv. Ne?a upodobljena že naju Jni poševnici koraega sklepa. Poleg lega mesto upodobitve nasproti Marijine smrti govori prej za Marijo zaSčitmco s plaSčem. Paye/avo Marijine smrti in Marije zašči inice s plaščem najdemo npr. še na oltarnih tablah i/. Biela v Zürichu, Schweizerisches Landesmuscum £cf. Gabriela Pritsche. Ein Retabelfragmeni des 14. Jahrhunderts im Schweizerischen l.andesmuseum in Zürich: Versuch einer Einordnung der sogenannten Bieler Tafeln, Zeitschrift für Schweizerische Archäologie und Kunstgeschichte, 39/ 3, 1981, p. 190, sl. la. lb), 11 Na gradu Tirol pri Mcranu v apsidi v spodnjem nadstropju Pankracove kapele zavzema Marija zaičimica mesto v okenskem ostenju, tako da s plaščem z nbeh strani obdaja okensko odprtino, pri čemer gre za podoben učinek kol na Brdinjab (cf, Josef Weingar mer, Die frlihgotische Malerei Deutschtirols, Jahrbuch des kunsthistorischen Instituts der k.k, Zentralkomission für Denkmalpflege. X, 1916, sl. 12). I! Hermclinski vzorec se pogosto pojavlja na J uinem Tirolskem za okraše vanje nolranje strani oblatil in naslikanih zastorov (grad Sabbionarapri Aviu), pa tudi na Koroškem, v i'urlaniji in Sloveniji, /lasti pri sv. Krištofih. 43 niki stanov, desno cerkveni, od preprostega meniha do škofa z mitro, levo pa posvetni, z raznovrstnimi modnimi pokrivali, značilnimi za lietjo četrtino 14. stoletja. Na severovzhodni poševnici kornega zaključka je naj lepša izmed ¿enskih fi g ur - visoka, vitka, rahlo nazaj nagnjena rv. Marjeta z zmajem oh nogah (si. 18. 19), v dolgem in oprijetem modnem oblačilu z globokim dekoltejem, ki razkriva gola ramena, Ozki rokavi pokrivajo zapestja in segajo skoraj do prstov, pas pa se je spustil na boke. Na glavi počiva umetelno izdelana pctlistna krona in čez ramena j t padata dve izredno dolgi, gosli kiti las s svetlim pramenom po sredini. Obraz in ramena so nei.no osenčeni, črte v očesnih količkih nesklenjene, kar daje obrazu mil in rahlo melanholičen izraz. Vendar pa tudi pri tej izjemni figuri kvarijo eleganco velike, grobo izdelane, shematične roke, v običajni d rži z izproženim kazalcem Manj prefi njena in bolj poljudna je ri\ Neža z ovčico (si, 20. 21) na jugovzhodni po še v niči, z h olj grobimi potezami ubraza, rahlo privihanim nosom in s tršo modeiacijo. Poleg atributov svetnici določata še napol izbrisana napisa na zgornjem robu pravokotnega okvirja. Na zahodnem obočnem polju sedi na preprostem prestolu blagoslavljajoč Kristus Paniokrator s kratko razcepljeno brado in z odprto knjigo v rokah. Na sosednjem severnem polju je evangelist Matej v podobi angela z roulbasto bordtiro na oblačilu, na južni evangelist Luka kot vol, na jugovzhodni evangelist Marko kot lev in na severovzhodni skoraj popolnoma izbrisan evangelist Janez kot orel. Sredino notranje slavoločne stene proti oltarju zavzema Kristusovo obličje v medaljonu kot neke vrste okrajšan motiv Veronikinega prinTD ki ga spremljata dva angela s svečo. Desno spodaj je Abel ( si. 22) v kratki tuniki, ki napol v pok le ku dviguje jagnje. Njegov deški obraz krasi umetelna pričeska z natančno izrisanimi lasmi, prirezanimi v dveh različnih višinah, ki se vihajo navznoter. Levo spodaj pa je bradati Kajn z nicandrasto oblikovanimi kodri in snopom žita v rokah. Spodnjo stran slavoločne stene pokrivajo štirje bradati dopa.sni preroki (si, 23) s čepicami na glavah in z napisnimi trakovi v rokah. Ker gre za starejše osebe, je tehnika senčenja še bolj groba in kontrasti še močnejši. Prizore obrobljata borduri z diski in cikcakasto prepognjenim trakom, Ozadje je obarvano zelenomodro, oblačila figur pa rjavo, sivkastorjavo, oker in temnoze-leno. Program poslikavc s Kristusom Pantokratorjem in simboli evangelistov na ohoku, z Veronikinim prtom, s Kajnovo in Abelovo daritvijo' ter preroki na slavo-ločni steni pripada tradicionalnemu severnjaškemu sistemu visoke gotike. Marijina smrt, ki je doživela na Koroškem izredno razširjenost predvsem v prvi polovici 11 Identično upodohiiev najdemo proti sredini 14, sioletja na vzhodni steni kura v podru- žnični cerkvi v Maignu na Spodnjem Avstrijskem, kjer medaljoil držita dva angela. (Cf. ElgaLane. nit mirfelaUeHlchtit Wandmalereien in Wien in Niederßsterreit Ii. Wien 1983, Sl. 259, 260.) 44 14 stoletja,1,1 ostaja ludi v tretji četrti ni v okviru italijanizirajočega slikarstva Se vedno pogost in priljubljen motiv,15 Proti sredini in v tretji četrtini stoletja se razširi tudi upodobitev Marije zaščitniec s plaščem,"' ki pa nikjer drugje še zdaleč ne doseže takšne monnmenialnosti kot na Brdinjah. Prizore i/ legend svetnic lahko zasledujemo na Koroikem ie od zadnje četrtine J 3., pa skozi vso prvo polovico 14. stole tja J7 kar dokazuje njihovo stalno priljubljenost. Kot samostojne upodobitve, izločene iz narativnih ciklov, pa se pojavijo v teku druge četrtine 14. stoletja, nanizane druga ob drugi pod arkadnimi loki."4 Zanimanje zanje Se zdaleč ne usahne v ¡retji četrtini stoletja, ko narativne prizore postavijo pred bogato arhitekturno kuliso1" in pozornost naklonijo tudi dotlej zapostavljenim svetnikom. Tako samostojni upodobitvi sv. Marjete in sv. Neže na Brdinjah sodila v splošne ikonografske tendence tistega časa. Zaradi geografske lege in kulturnozgodovinske pripadnosti Brdinj Koroški jc potrebno freske razumeli v kontekstu koroškega slikarstva po sredini 14. stoletja. ko so ga v Širokem valu zajeli gornjeitalijan-ski. predfurlanski trečentistiini vplivi. V nasprotju z dobro obdelanim in vsaj glede provenicnee pojasnjenim slikarstvom furlanske smeri pa jc ostalo italijansko obarvano slikarstvo proti sredini in v irelji četrtini 14. stoletja zaradi težavne uvrstitve iu navadno nizke kvalitete izvedbe neopaženo. Prvi, ep i z od ni pojav tre-¿enti stično obarvanega slikarstva, ki je ostal brez nasledstva, predstavlja poslikava preddverja krike stolnice (1339-1343).™ K ljub številnim prispevkom in različ- IJ V Župnijski in romarski cerkvi Naie drage gospe v Mariji na Zilji (Maria Gail), župnijski cerkvi sv. Nikolaja v Simti/u {v tibeh primerili Marijin pogrebni sprevod), župnijski cerkvi Marije Magdalene v Velikovcu (Völkermarkt) in kapeli Rabbenstemov ob samostanski ccrkvi v Št, Pavlu v Labotski dolini (St. Paul im Lavanttal). Vse primerjave v članku povzemam po De hi o- H a ndb uch' Kärnten, Wien 1981. sicer pa sem si spomenike ogledala v okviru magistrske naloge Slikarstvo poz/tega 13, in zgodnjega !4. stoletja na Koroškem, kiju deliun pri mentorju prof. dr. Janezu Hiiflerju, 15 V župnijski cerkvi v 5t, l ipSu pri Ženeku (Št. Pilippcn ob Sonncgg) in kriki stolnici (Gurk). 11 župnijska cerkev v §t. Lipäu pri Žencku (Si. Filippcn oh Sonncgg). 17 Pogosti so prizori iz Marjetine (severna stena župnijske cerkve sv, Martina v Radlachu. slavoločna Stena župnijske cerkve sv. Andreja v Gradcsu) in Katari ni ne legende (severna stena župnijskeccrkve sv. Marjete v Remicnilcu v Karavankah (Remschenig], kost nita v Bistrici pri Gradesu (Feisiriv oh Grades |) ter posamezne upodobitve sv. Doroteje (severna siena podruinične cerkve sv. Cecilije v A lihofnu, južna zunanji čina župnijske CtrftVe Marijinega vnebovzetja v Malti (?)). " Severna stena in del slavoločnc stene Zimske oziroma Rožno venske cerkve na Otoku ob Vrbskem jezeru (Maria Wörth), severna stena kunicgu kvadrata župnijske cerkve sv. Dioniza v Irschnu in severna stena kornega kvadrata iupnijske cerkve sv, Lovrenca v Glanhofnu. " Dorotejina legenda na severni steni župnijske cerkve Si. Peter irrVHOlz. :u Alfred Sebnerich. Die beiden bi h Ii sehen Gemaldezjklendes Domes zu Gurk, Mitteiiun-gen der k. k. Zeiilrulkomission, XIX, 1893, pp. 35-44, R9-94; XX, 1894. pp. 143-L50; KarlGinhart. Bruno Grimschitz: Der Dom zu Gurk, Wien 1930. pp. 95-102; Hannelore SI ein- Kaiser; Der dllteslatnenllicfie Freskenzyklus in der Vorhalte des Du m es ;u Gurk unter BerneksUhtigung seiner IkonograpÄj*. Wien 1975 (doktorska disertacija]. Avtorica je mnenja, da gre za potujočega italijanskega slikarja, ki prihaja iz odrofnega okolja (Purlanije ?) in seje le obrobno seznanil v novimi t reče nt isti tu i mi stvaritvami. Za opozorilo na omenjeno doktorsko disertacijo se zahvaljujem mag, Robertu Wlattnigu. C f. Tanja Grego rov io, Freske i> preddverju tr.iifTtti/ni«, Ljubljana 1991 (diplom, nalogaj. 45 nim p ris lopo m Se vedno ostajajo odprta temeljna vprašanja: So Treske delu provinci a I neg a sevemoitalijanskega mojstra ali severnega slikarja, ki je prišel v stik z italijanskim slikarstvom7 Od kod izvira italijanska komponenta? Gre za neposreden stik s trečent ¡stičnim repertoarjem ali za vsaj deloma posredno sprejemanje prek severnega slikarstva, ki je že vsrkalo, predelalo in naprej razvijalo trečenli-stiCne prvine?11 AH severnozahodne prvine v resnici izvirajo le iz lokalnega slikarstva?31 Kam lokalizirali mojstra oziroma delavnico, ki pomeni pnvscm osamljen pojav v koroikem slikarstvu druge četrtine 14. stoletja? Če si zastavimo vsa ta vprašanja, ugotovimo, da je resnično treientističen v krškem preddverju le dekorativen aparat z modro obarvanim in z zvezdami posutim hanjastim nbokom. S prizori, ki potekajo v horizontalnih vrstah vzdolž severne in južne stene, s koz-matsko borduro, Štiri listnim medaljonom in alomiovjem, ki sicer z nekaj nepravilnostmi in odstopanji (na primer rahlo variiranje velikosti polj, neupoštevanje dekorativnih ločilnih elementov, kontinuirano združevanje dveh prizorov v enem okvirju) sledi italijanskim vzorom. Pa še v teh primerih lahko v severnem slikarstvu zasledimo sorodne pojave, neodvisne od italijanskega slikarstva,'1 V figuralnem stilu, ritmu m duktusu draperijc kljub nekaterim trečenti stičnim citatom in plastičnosti prevladujejo visokogotske severnjaške forme, v nekaterih primerih francoskega izvira, Tudi perspektivično oblikovana arhitektura z visečimi balda-hinskimi loki, tuja padovanskemu slikarstvu, verjetno ni nastala le v neposrednem stiku z lialijo, temveč že ob poznavanju severnega slikarstva, ki se je Že prilagodilo novim trečentisličnim zahtevam.:i S spajanjem severnih in italijanskih elementov se to slikarstvo po učinkovanju še najbolj približuje lokalno obarvanemu giottovskemu riminiškemu slikarstvu, ki je na podlagi dvojne, deloma asiško, deloma padovansko obarvane tradicije izoblikovalo svoj specifični jezik, v katerem so se Se dodatno okrepili italo-bizantinski in severni elementi. 31 O problemu recepcije trečentističnih elementov v severnem slikarstvu in njihovem nadaljnjem razvoju: Gerhard Schmidt, Die Chorseh ranke nmal e reicn des Kölner Doms und die europäische Malerei. Köln er Dömblatt, 4-1/45, 1970-SO, pp. 293-340; Gabriela Fril-sche: Die Entwicklung des "Milien Realismus " in der Wiener Malerei: 133! bis Mitte des 14. Jahrhunderts, Wien, Köln, Graz 1983 [doktorska disertacija]. ;; Lc-ti so izrazitejii kakor na drugih sočasnih koroških spomenikih, Kot francoske lahko Označimo sivolase bradate starce / značilno obliko oči in /alomljeiuh obrvi, živahno, ekspresivnogcslikulacijoz izproženimi dlanmi in prsti, tU in tam lahkotno stojo in umetelen /.asuk, figure v razkoraku Z razpelo halj ico, spodvihane in za pas zataknjene robove tunik, obliko ležišč, oblakaste obroče ter viteSko-arisiokratskc pričeske, obuvala in oblačila. Jürgen Mich ler, Grundlagen z ur gotischen Wandmalerei, Jahrbuch der Berliner Muse -en, XXXU. 1990. pp, 85-136, Nizanje prizorov v več horizontalnih vrstah se pojavlja tudi na severu, zlasti v prepnisiili, provmciainih cerkvenih zgradbah, kjer seje sočasno s Padovoin neodvisno od nje pričela pot proti i t. "Bilderwand" Ta pojav lahko zasledi mo tudi na Koroškem v kamerju v Piswegu in Dein^bergu i/ /adnjc ¿eirtine 13. Mole tj a, ki pa še ohranjata delile v prizorov s preprostimi enobarvnimi trakovi in sichriči, medlem ko gte kliku preddverje korak dlje tn in uveljavi po italijanskem v/oru delitev s kozmatsko borduro. " Podoben arhitekturni princip zasledimo na primer na antependiju i/. Königsfeldna proti 1350, 4fi IJrugi trečemi stični val, kije zajel Koroško v tretji četrtmi 14, stoletja, je bolj organsko povezan s severnim slikarstvom. Proti sredini 14. stoletja se na povsem severno usmerjenih spomenikih pojavi ekleklicizem v figuralnem stilu in kompozicijah ter poskusi perspektivičnega poglabljanja prostora, Ti se kažejo v poenostavljenem gubariju drapenje. udebeljenih in slikovitejših konturah v obrisu telesa, sumaričnem podajanju pričesk, grohem senčenju gub in s tem kompaktnejšem učinkovanju celote.2' To že izčrpano slikarstvo "risarskih" tendenc pripravi pot za sprejem drugega vala irečemističnih vplivov in omogoči sintezo obeh usmeritev. Zaradi nastanka "mešanega" stila in poljudne note v večini primerov ni mogoče določiti konkretnih virov. Vsekakor gre za neki pre diu rl ans k i stil36 z določenimi pobudami trečenta. Te se kažejo v plastičnem podajanju popreproSčene draperije in telesnih delov, bolj potlačenih proporcih in okroglem, nabuhlem obraznem tipu s podolgovatimi očmi in majhnimi, polnimi ustnicami, ki pa ga nc gre zamenjevali z mehkejšo, gobasto in Se bolj okrepljeno plastičnostjo furlanskih obraznih lipov. Ta zaradi neveščega, tršega toniranja in obrobljanja z debelo črto kol rtminiscenco "risarskega" sloga pogosto deluje karikirano. Tudi gestikulaci-ja, figuralni tips in ikonografski vzorci se radi ravnajo po vzorih iz prve polovice 14, stoletja. Novost pomeni razširitev in večji realizem poglohljene arhitekturne kulise psevdoitalijanskegfi značaja, ki nadomesti fantazijsko, bolj komplicirano in bogato okrašeno severnjaško. Tudi krajina s skoraj obveznim nazobčanim tre-Čenti stičnim skalovjem pridobi pomen in se epsko razširi.31 Le redke poslika ve v "1 L, g. pos lika vii kos I nice V B i Strictpri G radesu (E-eistri Iz ob ü rades), se vem e z u n anj šč i ne župnijske cerkve sv, Lenarta v Weißenstcinu, spodnje sirani s lavo loč ne stene podružnične cerkve Sv. Janeza pri St. Jakobu (St. Johann bei S L Jakob), ladje župnijske cerkve sv. Lovrcnca v Kamnu v Podjunski dolini (Stein im Jaunral), severne stene v višini empöre župnijske cerkve St. Michael pri Wolfs berg u. " Walter Prodi: Die gölisföe Wandmalerei ill KtutUcn, Klagen fur t 1944 (od tod citirano Prodi: Die gouache Wandmalerei). V jrodfuransko skupino uvršča kostnico v Krčanju (Greutschach, okoli 1360), prizore iz Marijinega življenja v Si. Lipiu pri Žciieku (Si, 1'ihppcn ob.Sonnegg, okoli 1370}, Križanje na severni zununjščini sv, (Jlrika v Plat/u (okoli 1370), Dorotejino legendo in pasijonske prizore v St. Petni im Holz (1370/80), G f. Andreas Des cid: Fresken in Kärnten um ¡400: Die Trecetnorezeption in der Kärntner Wandmalerei, Wien 1992 [diplomska oziroma magistrska naloga] (od tod citirano Besold), pp, 'M 2, tej skupini dodaja kasneje odkrite i n edine z napisom datirane freske kamelja y Gmündu (1370), puslikavo zunanjščine podružnične cerkve sv. Jurija v Gcr- 1 a moosu (oko I i 13 80), po s I i kavo j u žnegu slopa v samos tan s ki ccrk v i v Mi 1 Is lait u (oke 1 i 1380) in sv. Kiiilofa na zunanjščini nekdanje Hlizahetine cerkve na Pliickmi (1370/80). ki jih je Walter Frodl zaradi furlanskih potez v obraznem tipu in močnejše modelaeije uvrstil v furlansko slikarstvo okoli 1400 ali kmalu potem. Tem spomenikom lahko priključimo še poslikava severne Indijske in dela slavoloine sie ne župnijske cerkve sv. Jakuba starejšega in sv. Ane v Deiusbergu (okoli 1360). južno steno Maiijinc kapele v Lindu v Dravski dolini (1360/70), korni kvadrat župnijske cerkve sv. Jerneja na Rehetei (Höchberg, okoli 1380) in severno /unanjščino župnijske cerkve v Sv, Juriju (St. Georgen) V Ziljski dolini (okoli 1380), Pntv na upodobitvah Pohoda in poklonasv . ireh kraljev je kljub tradirauim ikonograi skim vzorcem mogoče opazovati napredovanje italijanskih elementov, ki .se kažejo v izrazitejši modni uglajenost" figur, večji narativnosti (v spremstvu se poveča število služabnikov, pojavi se /.amoiee s iuiaiieo in psi j, obogatitvi ambienta z bolj realistično vegetacijo in trečent i stično arhitekturo (fantazijski gotski baldahin nad Marijo z dete- 47 tej skupini presegajo provinetalno raven,Slog od spomenika do spomenika vari ira, tako da ne moremo govoriti t> enotnem trečentistiunem viru ali prodoru določene Sole. V pošte v pride vsa gornja Italija od Furlanije, prek Lombard ije do Julne Tirolske. Tatjana Špitalar*' je tako brdinjske freske prav zaradi itahjunizirajoče nabuhlih obrazov, svetlih pramenov v laseh in velikih, podolgovatih, široko odprtih oči, ki v resnici spominjajo na furlansko slikarstvo, uvrstila v nekoliko kasnejšo furlansko skupino z izhodiščnim tokom pri Vitaiu da Bologna v Vidmu. Omenila je podobnost s .rv\ Krištofom na zunanjSčint nekdanje Elizabeti ne cerkve na Pl očke nske m prelazu1'"' in še izrazitejšo s slikarijami v gornjem nadstropju kostnice v Gmiindu/" s katero se ujema čas nastanka okoli 1370 m obrazna lipika ligur. Vseeno pa te podobnosti niso tolikšne, da hi bile freske lahko delo ene delavnice lom nadomesti trečent i stična lesena staja). Tako lahko med seboj kronološko primerjamo Pohode in poklone si1, treh kraljev na slavoločm steni podružnične cerkve s v. Elizabete v Ober/eiringu ( 13*R)-SO), severni ladijski steni iupnijske cerkve sv. Jakoba starejšega in sv. Ane v Deintbergu (okoli 1350-6(1), severni steni pre/biterija podružnične cerkve Si. Cäeilieu ob Muruu( 1360-70). južni steni kapele Maria Hilf v L indu v Dravski doli n i ( 1360-70). j u lni steni prez h i te r ij a / u p nij * ke c erk ve 51. Lipš p ri Ženeku ( S t. Fi 1 i p-pen ob Sonn egg, okoli 1370) in karnerju v Gmiindu (okoli 1370), :s Poleg kostnice v Gmiindu sta izjemi Se Poklon kraljev na severni steni župnijske cerkve v Detnsbergu in Pohod ter poklon kraljev v Marijini kapeli v Lindu v Dravski dolini (posvetitev 1347; napis iz IS. stoletja govori. naj bi v tem letu nastala tudi poslika vu, kar pn glede na stil fresk ni mogoče; bolj verjeten je nastanek med 1360-70). Opazili je ikonografske podobnosti s Pohodom in poklon o m kraljev v pokopališki cerkvi ^ v. Elizabete v Ob c rzc i ring u na Štajerskem iz 1340-50. Oba Pohoda potekata v nasprotni smeri od običajne, od naSe desne proii levi. Marija t. detetom v obeh primerih sedi pod perspektivično oblikovanim ha I da hi nom s pogledom od spodaj navzgor in podobne so postavitve galopirajočili konj z jezdeci, Stilistično pa freske pripadajo različnima svetovoma. V Ohcrzeiringii gre za značilni pozni "risarski" slog štiridesetih let, medtem ko je v Lindu opaziti uveljavitev nove italijanske modne uglajenosti s čeSkim pridihom v obraznih tipih. OOherzesringncf. Ulrich Ocberbauer; Die Wandmalerei der Steiermark im XIV, Jahrhundert, Graz 1954 (od tod citirano Ochcrbauer). p. 64 (doktorska discria cij;i|i id., Der Freskenzyklus in der Knappenkirche zu Oberzeiring. Ö7.KÜ. XL 1957, pp, 62-69, dataeija fresk med 1340/50; id.. Wandmalerei, Gotik in der Steiermark, Gr a t 1978, p. 96. |r.k,| Spitalar, p.p. 9-12, Frodl: Die gotische Wandmalerei, p. 74, sl. 17. Avtor ga uvrSča v furlansko slikarstvo blizu slikarij am y Neuhmisu na ZiJji iit ga datira kinalu po 1400, Ochcrbauer (Ochenba-uer, p, 77) opaža podobnosti r volivno sliko Polaganja v grob in Oznanjenja na južni steni mestne župnijske cerkve v Murauu. Slo naj bi za furlanski krog z močnejšim naslonom na S. Chi aro v Vidmu (cf. ! le ribe rt I luiter: Italienische Einflüsse auf die Wandmalerei in Österreich im 14. Jahrhundert, Wien 1958 [doktorska disertacija] od tod eiiira-no Huiter, p. 94), Tako kot Frodl ga uvriča v furlansko skupino in postavlja v bližino Neubau sna. Ilcsold (liesold, pp, 36-37) Opaža močno shematizacijo. ki spominja nu ikonsko slikarstvo in se zavzema za zgodnejšo daladjo pro I i 1370/80, pri čemer hi mojster utuguil biti učitelj slikarja v Neuhau snu. Tako bi zgodnejc datirani sv. Krištof na Plockenskem prelazu lahko zastopal vmesno stopnjo med p red fur lanski m in furlanskim sli-karstvom. 111 Emst Bacher, Zu den Fresken fanden des kiz.tcn lahrzcbnts: Kärnten, ÖZKD, XX III 1969, pp. 129-131. Freske zaradi shematične obravnave in prevladujoče severnjaike note pripisuje] o domače mu mojstru, ki se je seznanil z raznovrstnimi trečentisličninu 48 ali telo istega mojstra. Na PliJckenskem prelazu srečamo podobno obliko magično strmečih oči S poveiemnli vekami, način senčenja in podajanja plastičnosti ter ornament iranja oblačila. Vseeno pa se zdi, da je freska s pre fi njeni m, mehkim toniranjem in potencirano plastičnostjo ie korak naprej od stopnje v Brdinjah, Brdinjam in Omiindu so skupne visoke, vitke silhuete svetnic v oblačilih z globokim izrezom (sv. Barbara v Gmiindu in svetnici na Hrdinjah) (si. 24, 18, 20), drža nerodno oblikovanih rok z izprožemm kazalcem in sorodno oblikovanje valovitih. volnatih las (Marija na Zaroki V Gmiindu in s-v. Marjeta na Brdinjah, si. 14, 13), Podobnosti je opaziti pri bradatih, bciolasih starčevskih figurah in njihovi gestikulaciji (Jotef na Marijini zaroki v Gmiindu in apostoli na Marijini smrti na Brdinjah) (si. 14, 13), pa tudi v barvni lestvici zelenih, rjavih in oker tonov ter borduri z diski, ki je na Brdinjah v primerjavi s perspektivično oblikovano gmün-dsko preprostejša. Ob primerjavi detajlov pa se pojavijo precejšnje razlike, tako da je ugotovitev Špitalarjeve o različnih delavnicah povsem pravilna. Na Rrdi-njah obrobljajo obraz, oči in nos črne konture, kontrasti v senčenju so izrazitejši in figure masivnejie, česar pri subtilnejii gimtndski figuialiki ne srečujemo. Ti grobi, ruslificirani detajli so deloma posledica nižje kvalitete, deloma pa izrazitejšega naslona brdinjskih fresk na italijansko izročilo, medtem ko gmiindske vsaj v fig ura] i ki ostajajo biiie severnemu slikarstvu, Prav tako je draperija na sicer kvalitetnejših slikarijah v Gmiindu v primerjavi z brdinjskimi konservutivnejša, z manj modnimi detajli, saj s suho modeiacijo, ravno padajočimi, popreproičenimi oblačili s trdimi skledastimi gubami in ovitostjo figur v dolge plaiče ponavlja formulacije iz sredine stoletja,Ji Glavna razlika pa je v vlogi arhitekture in krajinskega pcjsa-?.a, ki v Gmiindu zavzema pomembno, a izolirano mesto v koroSkcm slikarstvu,33 formulacijami prek furlansko-gornjcitalijanskih potujočih slikarjev, Cf, Maria Prokupp: !ta!inn Treeento Influence on Murals in East Central Europe, particularly Hungary, Budapest 1983, pp. 33-39. " Tako v gornjem nadstropju nekdanje grajske kapele na Aufensleinu v bližini Malreia pri Hrennerskem prelazu (danes podružnična cerkev sv. Katarine v Navisu} naletimo na prizoru Predstavitve i1 templju na podoben ženski obrazni tip z oglavno ruto kakor tih Marijini taroki in soroden duktus drape rije kot na Marijinem oznanjenju v Gmiindu. Sv. Janeza Evangelista v okenskem os len ju v dolgem, ravno padajočem oblači In s skledastima gubama ob straneh pa lahko primerjamo s .rv. Barbara v Gmiindu. Cf. Eva Frodl-Krafi, Zu den Fresken fun den des letzten Jahrzehnts: Tirol, Ö7.K1), XX III, 1969, pp. 195-198, S 1.231 (Predstavitev v lemplju), Datacija fresk proti 1350. Izrazito dekorativen tip arhitekture s trikotnimi četi in filialami kot na Marijinem oznanjenju srečujemo na Južnem Tirolskem že v tretjem desetletju 14, stoletja v križnem hodniku frančiškanskega samostana v Bnlzami, njegov odmev pa lahko zasledujemo Se v začetek 15, stoletja v župnijski cerkvi v Terlanu ni Marijinem kronanju (cf. Josef Weingarlner Gotische Wandmalerei in Südtirol, Wien 1948, al. 44). Gre za Splošno razširjen arhitekturni tip. zlasti v severni Italiji, ki izhajaizasiikegainne izGiotiovega slikarstva in ki seje Se pred sredino 14. stoletja uveljavil tudi v severnem slikarstvu. Na skoraj identične leve, ki silijo izpod po I k rožni h lokov, naleti nn> na Salomonovem prestolu »a severni s len i samostanske ceikve v St. Lamb rech tu na Štajerskem, pri čemer pa je podohnost tudi ikonografsko pogojena. Podobno členjen arhitekturni tip kot v St. I ¡i m b rech tu najdemo na južni steni spodnjega nadstropja nekdanje grajske kapele v Aufertiteinn na fragmentu velike sedeče figure na preslolu. ob kateri kleči priprošnjik. Podobnosti bi morda lahko govorile za izvir tega arhitekturnega lipa na Tirolskem, 49 na Brdinjah pa ga sploh nt. S to potezo pričenjajo 13rdi nje konservativno nagnjenje slikarstva na Slovenskem, ki se nadaljnje v 15- stoletje Kljub razlikam pa sta si cikla v primerjavi z drugimi koroškimi spomeniki tistega časa vseeno najbliija. Del podobnosti gre v določeni meri pripisati stilu časa okoli 1370, ko sta nastali obe poslika vi, poleg tega pa bi lahko pričakovali tudi podobna izhodišča. Teh ne gre iskati v furlanskem slikarstvu, ki naj bi sicer začelo prodirati na Koroško med 1370 in l3S0,iJ a je ustvarilo drugačen, še bolj okrogel in bolj plastično izdelan obrazni tip z bolščečimi, široko odprtimi očmi in lununozno, mehko plastičnostjo. Zdi se, da se daljni vzori in izhodišča prej skrivajo v južnotirolskem slikars tvu in njegovem vplivnem območju okoli sredine in v tretji četrtini 14. stoletja. Oblikovala sta ga dva nasprotna si tokova, na em strani pozni "risarski" slog z glavnima predstavnikoma v poslikavah kapel gradov Aufenstein in TirolM ter na drugi strani slikarstvo v nasledstvu Guarienta di Arpa," ki se mu ponekod primešajo veronski ali beneški vplivi. Paduvanski mojster je ob obisku v Bolzanu leta J 34 K3'' oziroma v petem ali šestem desetletju 14. stoletja1, skupaj s pomočniki poslikal kapelo sv. Nikolaja ob dominikanski cerkvi v Bolzanu po naročilu Nicoloja, člana fiorenlinske bankirske družine de' Kossi (Hotsch). S tem je ustvaril Široko in dolgotrajno nasledstvo, ki je odmevalo do konca 14. stoletja." Na Južnem Tirolskem sicer ne moremo pokazati povsem konkretnega spomenika, po katerem bi se Zgledovali poslika v i v Gmiindu in na Brdinjah, saj je njun stil že preveč predelan in absorbiran v severno slikarsko izročilo, Vendar pa gre za neki globalen stilistični pojav, na katerega se treske v Gmiindu in na Brdinjah odzivajo vsake na svoj način, V tiguraliki bolj konservativne freske v (imiindu izhajajo v veliki meri iz tirolskega slikarstva poznega risarskega sloga srede 14, stoletja, kot ga zastopa poslikava gornjega nadstropja nekdanje grajske kapele na Aufenstei nu, kjer lahko zasledimo rahlo podobnost v ženskih obraznih tipih in duktusu draperije.(sl. 24, 25, 26, 27)Jv V oblikovanju bogato členjene arhitekturne kulise " Besold, p. 10.Prva znamenja naj bi Se kazala vGerlamoosu in M111 stanu okoli 13 SI). " l luiter, p, 58 ss.; Nicolo Rasmo: Affreschi mediotvali atesinh Vcnezia 1971 (od tod citirano Rasmo: Affreschi), pp. 139-134; Waltraud Koller; Der "Lineurstil" in derspatro-manischen urulfríihgOltSChin Wandmalerei Tirols, Innsbíuck 198-4, p. 163 s s. | doktorska disertacija] " Ni col o Ra smo. I disirutti affreschi guaricnicsehi deilaehicsadci do men i can t a Bolzano, Cultura a tesina, IX. 1955 (od tod citirano Rasmo, I disirutti affreschi}. pp. 118-127; Rasmo: Affreschi', i d,, H i It ura del Dueccnto e del TrcCento iu Trcniiono Alto Adige, La pitiura in Italia: II Duecento e il T rečemo, J [/1, Milano 19R6 (Enrico C as Le ln uo v o, ed.) (od tod ci ti rano R asmo, P i it u ra de I D neccn to), pp. 93 -109:11 u ttc r, p. 51 s s, w Roberto Pallucchim: Lapirtura venenotm tlel Trecento, Vene/i a 1964; Francesca d" Arcáis: Guariema. Venezia 1965. Datacija v leto 1348. " Rasmo, 1 distruiti affreschi. datacija med 1345-1350/55; Rasmo: Affreschi. daiacija v šesto desetletje ¡4. stoletja. Rasmo, Pitluradel Duecento, datacija med 1360/65. Kapela je bila med bombardiranjem Jcia 1944 popolnoma poru Sena, Ohranile so se le predvojne črno-bele fo log ra fije dela pos lika ve, ki ne omogočajo natančne datacije. 11 Poslikava ladje z zgodbama obe h Jane/o v v cerkvi sv. Janeza v Bol/anu (S, G i ovan ni in Villa/St. Johann im Dorf), poslikava cerkve S. Maria del Conforto v Maii Bassi, S Pietra v Ouarazzah, S. Vigilia al Virgolo itd. ™ Op.cit. p. 9, 50 in krajine z utrdbo pa sledijo sodobnim južnotirolskim in tridentinskim pozno t re-čenttstičnim formulacijam.* Brdinjske treske s tršim, bolj italijanizirajočim obraznim upom s poudarjenimi vekami in bolj grobim, kontrastnim načinom senčenja pa se prej naslanjajo na guariemeskno tirolsko izročilo, kot sta poslikava oboka v cerkvi sv. Janeza v Uolzanu (Si, Johann im Dorf/S. Giovanni in Villa)11 in poslikava S. Biagia v Levicu." Obenem so naprednejše v ohlikovanju modnih oblačil, a zato izvedene ncrodnejc, brez arhitekturne in krajinske kulise. Tirolski značaj fig ura like, ki kljub plastičnemu učinkovanju deluje sploščeno in grobo, jih približuje tudi poslikavi župnijske Cerkve v Urschallingu na Havarskem iz 1378-1395.41 Obojim pa je skupna rahla lirična nota in bolj aristokratsko učinkovanje, ki počasi napoveduje dogodke s konca 14. stoletja. V Gmtlndu se kaže na Pokhnu kraljev z zametkom ka val kade, štafažnimi figuricami, utrdbo na pečini v ozadju in Marijo z detetom pod visoko baldahinsko arhitekturo, na Brdmjah pa moramo v tej Smeri razumeti aristokratsko j v. Marjeto V modnem ublačilu Poslikava sv. Neže na Brdinjah nad Kotljami je v slovenskem prostoru osamljen primer i talij a-nizirajočega slikarstva, ki ni nastalo niti v povezavi s prihodom tistega bolonjske-ga mojstra, ki je okoli 1370 poslikal zahodno zunanjščino župnijske cerkve v Cmgrobu in podružnični) cerkev sv. Petra v Bodovljah," niti z nekoliko kasnejšim prodorom t.i. furlanskih delavnic okoli leta 14(X). Ob hok bi ji lahko postavili nekoliko kasnejšo poslikavo podružnične cerkve sv. Miklavža pri Kontnem nad Čadramom s konca 14. stoletja, kjer je opaziti podobnost v obraznem tipu ženskih figur, načinu senčenja in očrtovanja s temnejšo črto ter ohlikovanju velikih nerodnih rok. Tudi tu srečujemo mešani stil z nekaterimi konservativnimi severnjaškimi elementi,*' le da pri tem freske v Kontnem že kažejo večjo bližino furlanskemu slikarstvu, posredovanemu verjetno prek avstrijske Koroške/'' V skupino italijansko oharvanih predfurlanskih poslikav spadata Se fragment jv, Nikolaja ™ Podobno krajino z utrdbo kot mi Poklonit kraljev v Giliilndu najdemo na prizorih iz legende sv. Julijana v stolnici v Trenili 1365, delu bolonjsko izšolanega mojstra Morita da Bologna, ki je prišel v slik z aristokratskim slikarstvom, morda lombardskim. Cf. An ton i o Morassi; S lotiti detla pit tura nella Venezia Tridenlina, Koma 1934, si. 151153. Soroden obrazni tip in oblikovanje pričeske kot pri sv. Barbari sc pojavlja pri Madoni z detetom v 5. Biagu v Levtcu, delu pod verunskim vplivom (Rasmo: Affreschi, si. I77>. Pri Kristusu Pantokratorju je v oblikovanju nosu. obrvi, oči m pričeske opaziti podobnosti z drugo Mudimo z detetom v S. Biagu v Levica iz 1346, ki kaie vplive poznega Paola Veneziana in zgodnjega Guarienta (Rasmo; Affreschi, si, 198), *1 Rasmo: Affreseh i, s 1.170, 171. Ras 113o: A ffreschi, si. 198. 45 Evamaria Ciolina: Der t,fcskenzykliis v on Urschalling: Geschirhte und Ikonographic, Miscellanea Bavarica Monacensio, Heft 80, Miinchcn 1980. Janez Hofler, Srednjeveikejfecskc v Sloveniji, l: Gorenjska, uvodno poglavje {pred natisom). Gre /a bohinjskega mojstra, ki SC je izoblikoval ob slikarstvu Vilah daBologne in njegovih pomočnikov v Pomposi ter prišel v slovenski prostor direktno, mimo Furlan i - jeNa primer evangelist Matej kot angel na oboku pre/biterija. Ta ko j c opaziti soroden obrazni tip pri Kristusu na sklepni k ti v Korit ne m m na poslika vi apsidc župnijske cerkve sv. Egidija v Zweinitzu ter v južnem kom stolnice v Krki s konca 14. stoletja. 51 kol krmarja ladje apostolov na zahodni zunanjičini podružnične cerkve sv. Miklavža v Bregu (Žužemberk) iz tretje četrtine 14. stoletja in poslikava ladje podružnične cerkve sv, Miklavža nad Patigrč Grmiim" na Dolenjskem s konca 14. stoletja, kjer pa ne gre za kak&no ožjo zvezo s freskami na Brdinjah, temveč le za sorodne razvojne smernice. Tako se brdinjske freske s svojimi značilnostmi vseeno bolj vključujejo v pisano podobo koroškega kakor osrednjeslovenskega sli karstva tretje četrtine 14. stoletja. ' Vilniu Praprotnik. Omamen tika slikanih okvirjev v srednjeveškem stenskem,slikarstvu V Sloveniji, ZUZ, n.v. X, 1973. PP .31-78; Alenkn Vodnik: H rokami vzorci V slovenskem stenskem slikarstvu 15. stoletja.Ljubljana 1991 [diplomska naloga}. Avtorici se kljub številnim retardiranim pote/am v ftguraliki fsv. Škof) in obra/nem tipu {karikirani profil i) /anidi uporabe Sabloninuilh v /ure e v zavzemata za datacijo pTOti koncu 14. stoletja. 52 THE FRESCOES IN BRD1NJE ABOVE KOTLJE AND THEIR SIGNIFICANCE FOR ART HISTORY By Tanja Grego rov if, Ljubljana The wall paintings in the church of Sv Neža (Si Agnes) in Brdinje above Kotlje*. alio called Vrhe near Slovenj Gradee' were discovered in the early 1980s. First mentioned when the church was restored in I9B4.2 they were dealt with in detail two years later in a diplunia paper by Tatjana Spila lar, who classified tlicm as belonging to the Friu It group.1 We are informed about the allowance to build a church by a document dating back to 1367, in which the Aqutlean Patriarch Markvard allowed the parish priest Parthainer in Šmartno near Slovenj Gradec tO erect a chapel in Kotlje dedicated to St Agnes and the martyrs St Primus and St Felician.4 If we judge by the style of the frescoes it was probably this priest who * My attention was drawn to the newly discovered frescoes, currently awaiting publication, by Professor Dr. Janez Uofler, I would like to take this opportunity of thanking him for his kindness, for making avai lable his archive material as well as the latest discoveries concern ing Sloveman medieval painting, and for encouraging me in my work. 1 would also like 10 thank koberi Wlaitnig MA, curator of i he Regional Museum in Celovec, who kindly sup])lied me wiiha plioiocopy of his dissertation on 14lh-century painting. 1 Krajevni le ksikon Slovenjje, 1 V: I'm!ra vje in Pom u rje, Lj ubljana 19BQ. p. 519. The c hurc h of S v Neia (St Agnes] in BnJinc (!) is mentioned as a late Gniliie building dating from 1554 in the place called Vrhe pri Slovenjem Gradcu. J Bine Kovači C. Wi rstvo spomenikov, X X V1. 19 &4 < K ovačič). p. 307. 1 Taljana Špitalac: Novaodkrite gotske freski na slovenskem Štajerskem: na področju /ji voda za spomeniško varstva Monhur, Ljubljana 1986 (diploma paper, Spi t alar), pp 9-12. ' Notitenblati: Beiiage zumArchivfür Kunde tisierreichiseher Geschichistjucllen. 8. Wien 1858, p. 4 »9. 1367, 25ÍX ("Marquardus Dei gratia S. Sedia Aquí legem i s Patri arc ha dilecto nobis in Christo Marquardo dicto Parihanier Plebano Plebis S. Martini in valle de Windisgraty nostre Aquilegcnsis Diócesis salu leni in Domino. Sicul nobis tua expos uit dtevotio tudi lige re decorum domu s Domini, Cape I lam unam sub vocabulo S. Agnetis el Sanctorum M any rum Primi ct Pe lic i an i cum subsidio populi lue cure subject!, pro hujusmixli feliciOpere tntercedcnliS, proposuisti confiriere in Plebe el cura tuis, in loco mu dicitur Chole lath diete nos tre Diócesis, ct eandem capel iam dotare mediante subsidio antcdicto bonis quibu^ unas Capcllanus celebruns divina officina in aedem, congruo potent substeniari, super qüihus nostrum pus tu las ti as sens um Quia igiiur debemus et volumus prompti in lalihus et íavorabiles inveniri, tuis dignis desidcriis annuentcs in hiis cum grato concurrent« affectu, canstruendi et dificandi Capellam modi s stalem: nolenics ex hoc mnniicis ecclcsie juribus in aliquo derogare; imo quod eadem Capella 53 commissioned (he painting, which must have been carried out contemporary to the building of the church: around 1370. The single-nave architectural design with a very rare two-sixth termination of the presbytery® and three wide plain buttresses indicates that the church was built in the 14th century. In both sloping walls and in the south wall there are three comparatively large windows, which were enlarged at a later date and given a pointed termination. The nave has a Hat wooden ceiling, characteristic of Carinthian churches, while the presbytery is vaulted, Five ribs with a deeply grooved profile*1 are connected by a round flat keystone on one side and have no consoles on the lower end where they gradually weld with the walls. In this way the vault is divided into five bays with two of them on the east side shaped as groined vaults due to requirements of statics. Later, a door was built into die north wall of the presbytery, but has stnee been walled up again. On the west side a bell tower with a conical roof was built lean-to. Owing to the three semicircular openings ot a later date made on its lower side, it gives the impression of an entrance porch. Paintings can be seen on the vault and the walls of the presbytery, as well as on the wall of the triumphal arch, Despite being badly preserved in some places, ail the scenes are discernible. The vault shows Christ the Pantocratpr and the symbols of the Evangelists, on the north wall there is the scene of Mary 's Death, on the south wall there is Mary the Patroness with cloak and On the sloped walls. Jf Margaret arid St Agnes. On the inner wall of the triumphal arch facing the presbytery there are the Cloth of St. Veronica, Cain s and Abel s offering-!, and on the lower side of the arch there are the four Prophets. The restorer 13ine KovaCiC ' has found that the fairly well preserved part of the painting on the wall was executed in fresco, while the combined fresco-sccco technique was used in the rather damaged part of the painting where the topmost layer of paint is missing. The scene of Death of the Virgin had suffered severe damage on account of the door which was later built into the wall, while the scene of Mary the Put rant-as with Cloak was damaged by the subsequent enlargement of the window. sine cimiteiioeitiStens, subjcctaejtislat Plebi predicte, proui alie Capclle 111 Atjuilegensis Diocesi suhjuci enistiint, Datum harum sub nostri siglli Impressionslinertirum, Aquitlgic die XX V. OctobriS anno Domini MCCCLXVII. Indictionequmta,I was made a ware of the document by Prof, Dr Janez J toiler: Jane/ Holler: (Jradivo to historiino topagraftjO predjotefmskih zttpnij no Slovenskem, vol, Vl/1, computer draft at the Philosophal Faculty; in the book by Franc Kovaiii: Zgodovina Im van tinskeikoftjt (¡228 - i928), Maribor 192S, pp. 108-109, there i s, u nder the same date, iffliocorrect inscription slating that it is the church of St Fortunatus and Felicianind identifying it with today's church of St Margaret in Koilje; cf; also Anton Oiinger: Carlo M. d'At terns: VizUacije savinjskega arhidiakonata goriike nadxkofije 1751 - 1773, Ljubljana 1991, pp. 237, 290,640. The visitation inventories from4th July 1751 and 28th June 1756 state that the daughter church of St Agnes had three altars - St Agnes'. St Bartholomew's (uneonsecrattd, portable) and St Agatha's fun consecrated, notl-portable). 1 In Carinlhii it is also found on ¡he monastery church of the Poor Clares in st Vkl na Glini (St. Veil an der Clad), which was founded in 1323 by Konrnd von A ufen stem and Ins third wife Dicmutfef. Dehto-Handbuch; Kurnten, Wien 1981". p.625). Ivan Komelj: Gntxka arhitekturn na Slovenxkem. Ljubljana 1973, p, 113, tig, |/d, ' Kovaiifi, p, 307. 54 Mary's Death of the Virgin" on the norlh wall is. iconographically speaking, of a rather rare type and cannot be clearly categorized as belonging either to the northern or the Italian style.1' The atmosphere of the painting would, however, indicate that it is closer to the painting of the Italian Trccento. The half-length figure of Christ in the ma nd or la, held by two kneeling angels with open arms, rises heavenwards above the centre of the scene, leaving behind the grieving Apostles. This central position of Christ was quite common in paintings dating from the first half of the 14th century and following in the Byzantine tradition. Christ holds his right hand in a gesture of blessing while he embraces Mary s praying soul with the other hand. Below, beside a wooden bed, where the Virgin lies, the Apostles (pi- 13) stand, lined in a row. Some of them hold their hands in prayer, while others have their forefingers spread out or hold a hook in their hands. Among them we find examples of a "Pushkin-like" type of male face with a heard but without a moustache, and of a bearded, white-haired old man. Both are characteristic of the artist's workshop. The excessively large hands, the laces, the prominent noses with emphasized nostrils are black-rimmed as are also the tipper lines of the lowered eyelids, the narrow semicircular brows and the small mouths, The parts under the eyebrows and the lower parts of the cheeks from the nose towards the ears are shaded in brown. Mary*s garment is in the area of the feet reminiscent of the "drawing" style, it is softly draped so that the hems form little ear-like and undulating lappets. We seek in vain this feature in the Apostles, for their cloaks have distinctly modelled parallel folds falling straight to the ground. The whole south wall is covered with the painted scene of Mary the Patroness with Cloak (pis, 15, 16)1W who, with her arms spread out, forms an imposing ' Kovaiii, p. 307, The scene is explained as Mary's funeral although it is undoubtedly Death of I he Virgin as I lie Apostles are gathered around the bed and are nol carrying the bier. 4 In northern as well as Italian painting of the I4ih century the type of Death of the Virgin (with Christ at the bed holding Mary's soul in his hands) following the Byzantine tradition was widespread. On the other hand, another, more rarely used scene of Christ with Mary's soul, already on high, was known in both artistic trends. One can find such scenes in the Arena Chapel in Padua dating from about 1320, the work of the Giottesque Padua workshop (Arte veneta, XXIV, 1970. p. 11. fig, 5) and in the German miniature in a leeiionary dating back to the beginning of the I3th century from Munich, with an accent on the iconography of bride and bridegroom (Gertrud Schiller: Ikonographietier christlichen Kunst 4,2: Maria, Giilersloh 19SO, fig. 6U5). The nearest konographical parallel to the frcsco under review can be found on the exterior of the presbytery of St Leonard's parish church in Weillenstein in Cannthia dating from the mid 14th century or a little later with a similar type of iconographical composition of the half-length Clirisi with Mary's sou! in the mandorla, already in heaven, and the Apostles, standing and mourning at Mary's bedside below. Kovaiit, p. 307. His opinion is that the scene depicts St Agnes with the worshippers, which was resumed by T. Spit alar in her diploma paper, Such an explanation of the see lie is less credible, as St Agnes is depicted on the soulh sloping wall of the choir termination. Moreover, the position of the painting opposite Death of the Virgin suggests Mary the Patroness with Cloak. The connect ion of Death ol the Virgin and Mary the Patroness with Ctoak can also be found, for example, on a| tar tables from B i e la in Zt&ich, Schweixerischcs I amies museum (cf. Gabriela Fritsche, Bin Relabel fragment des 14. 55 rectangular composition reminiscent of depictions oi St Christopher. The ccntre of the painting was probably damaged at the time when the window, which may have existed from the very beginning, although in a much smaller and narrower form, was enlarged," The frontal figure of the Virgin has long curly fair hair with a lighter streak in the middle. Holding her mantle wide open she gazes stearnly from under the lowered eyelids, which gives her face a hieratic expression. The outside of the mantle is decorated with a painted palmetto containing tendrils in the shape of a lyre, while the inside is adorned with an ermine ornament,1: The hems are softly folded in accordance with the "drawmg" style. On both sides, representatives of different social classes are depicted in several rows: on the righL we meet representatives of the Church ranging from the simple monk to the mitred bishop, and on the left are the pro lane classes wearing various kinds of headgear characteristic of the third quarter of the 14th century. On the north-east sloping wall of the choir termination we find the most beautiful of the female figures in the church: a tall, slim St Margaret leaning slightly backwards, with a dragon at her feet (pis, IS, 19), She is wearing a close-fitting garment with a low neckline revealing her naked shoulders. The narrow sleeves embracing her wrists reach almost to the fingers, while the belt line is slung down to the hips. An elaborately wrought five-leaved crown rests on her head and her hair is arranged into two long, thick plaits (with a light streak of hair in ihc middle) falling down her shoulders. The face and shoulders are softly shaded, and lilt lines in the eye corners are interrupted, giving the face a gentle and slightly melancholic look. However, the elegance of this exceptional figure is spoiled by the large, crudely executed schematic hands in the usual position with the forefinger outstretched. Less refined and more popular-looking is the figure of St Agnes tending to little sheep (pis, 20, 21) on the south-east sloping wall. The features of her face are rather rough, while her nose is turned up and formed in a harsher way. Apart from their attributes, the two saints can also be identified by means of half-erased inscriptions on the up pet edge of the rectangular frame. In Lhe west bay uf the vault. Chnst the Pantocrator with a short parted beard sits on a simple throne, giving out blessings and holding a book in his hand. Next tn him in the north bay there is a painting of the Evangelist Matthew ill the form of an angel with a rhombic border to Ins garment. In the south bay the Evangelist Luke is represented by an ox; in the south-east bay Lhe Evangelist Mark is represented hy a lion; and in the north-east bay the Evangelist John takes the form at an eagle. Unfortunately, the last picture is almost completely ruined Jahrhunderts im Schweizerischen La rules museum i n /.ürich; Versuch einer Binordnung der sogenannten B ieler Tafeln. Zeitschrift fiir Schweizerische Archäologie und Kunstgeschichte, 39/3,1981,p. 190,figs, la, )h). " At Tirol Castle near Meiano in Ihc upse on [he lower floor of Sr ['¡Hieras" Chapel Mary the Pratel'tress Occupies a place on the wail with the windows. With her mantle she encompasses the window from both sides and lhe effect resembles thai in Brdinjc. (cf. Josef Weingartner, Die fr Üb got i sehe Malerei Deutsehtirnls, Jahrbuch ties Kunsthistorischen Instituts der k. k, Zentralkom issionfür Denkmalpflege, X, 1916, fig. 12). 17 The ermine pattern appears very frequently in South Tirol, adorning the Inner side of lhe garments and painted curtains (SabWotUtrt. Castle neat Avio), as well as in Carinthia, I-'riuli and Slovenia, particularly in depictions of Si Christopher. 56 The ccntrc of the inner wail of the triumphal arch facing the altar is painted with Christ's face in a medallion as a sort of reduced motif of The Cloth of Saint Veronica,'1 accompanied by two angels with a candle. Below on the right there is a depiction of Abel (pi. 22) in a short tunic, half kneeling and holding a Iamb in his raised hands. His boyish face is adorned with an elaborate hairstyle with minutely drawn hair, trimmed at two different levels and curling inward. Below on the left there is the picture of bearded Cain with meander-shaped curls and a sheath of wheat in his hands. The lower side of the wall of the triumphal arch is covered by the depictions of four bearded half-length figures of the Prophets: (pi, 23) with caps on their heads and scrolls in their hands. Since they are represented as aged men. the shading is even coarser and the contrasts greater. TllC sccncs are framed by two borders, one containing discs and another a zigzag pattern. The background is green-blue and the garments of the figures are brown, grey-brown, ochre and dark green, '¡'he depictions of Christ the Pa ntoc rat or and the symbols of the Evangelists on the vault. The Cloth of Si Veronica, Cain s and Abel's offerings and the Prophets on the wall of the triumphal arch belong to the traditional northern High Gothic style. Death of the Virgin, which was exceptionally popular in Carimhia, particularly in the first half of the 14th century," remained a frequent and favourite motif in the third quarter of the century, at the time when the influence of the Italian painting style was fairly strong,Towards the middle and the third quarter of the century the scene of Mary the Patroness with Cloak became more and more popular,16 but the picture in Brdinje is by far the most imposing. Scencs from legends about women saints can be traced back in Carmthia to the last quarter of the 13th century and throughout the first half of the 14th,17 which proves that they were consistently popular, In the course of the second quarter of the 14th century, [ An identical represen [atiotfis found on the east wall of the choir in the daugh ter chu re h in Maigen in Lower Austria, dating from the mid 14th century, in which the medallion is lie Id by two angels, (cf. Elga Lane: Die mittelalterlichen Wandmalereien in Wien in Nicderdxterreich, Wien 19R3, figs. 259,260). 11 I n the parish and pilgrimage church of Our Dear Lady in Marija na ¡iilji (Maria Gail), the parish church of St Nicholas in Sirnitz (in both cases the scene of Mary's funeral procession), the parish churth of Mary Magdalen in Velikovec (Volkermarkt) and in the Rabbenstcin chapel near the monastery church in St, Pavel in LabotskadolinaiSt, Paul im Lavanttal). All comperisons after Dehio Handbuch: Kiirnten, Wien 1981 ! inspected the frescoes in connection with my MA thesis The Late ¡3th and Early i4th Century Painting in Carimhia (Prof. dr. Janez Holler, tutor), 11 In the parish church in St. LipS pri ¿eneku (St. Filippen ob Sonnegg) and in the Krka [Gurkl cathedral. " The parish church in St. Lips pri ¿eneku fSi. PUippen oh Somiegg). 17 Very frequent are scenes from Si Margaret's legend (the north wall of St Martin's parish church in Radlach. ilic wall of the triumphal arch m St Andrew's church in Grades), from St Catherine's legend (the north wall of St Margaret's church in Remicnik (Remschemg) in the Karavanke mountains, the ossuary in Bistnca pri Grade su (Feistrilz ob Grades)) and individual pictures of St Dorothy (the north wall of St Cecily's daughier c hu re h i a AI til n fen, part of I he sont h ex terior of th e parish chu rc h of M ary1 s Ass umpt i on in Malta(7)). 57 they appeared as independent images, separated from their narrative cycle and arranged in rows one beside the other on Lite walls of arches." In the third quarter of tite century the interest in them persisted since the narrative scenes were painted in front of a rich architectural background" and attention was given also to those saints who had previously been neglected, Thus, the independent images of St Margaret and St Agnes in Brdinje are an expression of the ieonographical tendencies of the period. In view of Brdinje's geographical position and its cultural and historical connection with Carinthia, the frescoes are to be understood as part of Carinthian painting after the mid 14th century, when it was flooded by the influence of the upper Italian, pre-Friulian Trecento. Unlike the well-studied and explained (at least with respect to its provenance) painting of the Friulian trend, the painting marked by Italian influence towards the middle and in die third quarter of the 14th century remained relatively unnoticed, mostly as a result of its usually being of a low quality as well as of the fact that it was difficult to classify, The first appearance, albeit episodic, of paintings influenced by the Italian Trecento was the painting of the entrance porch of Krka (Gurk) Cathedral between 1339 and 1343.111 which unfortunately was not followed by Other examples. Despite numerous contributions and various approaches, some basic questions remain open: Was the author of the frescoes a provincial North Italian master or a northern painter who had eutne into contact with Italian painting? Where does the Italian component originate from? Was it a result of direct contact with the repertoire of the Italian Trecento or of indirect contact through northern painting styles that had already absorbed and further developed the Trecento elements?51 Do the north-western elements really originate solely from local art?" Where should one locate the master or the 11 The north wall and part of the wall of the triumphal arch of the Winter, or Rosary, church, in Ol ok near Vrbsku jezero (Maria Worth), the north wall of the choir square of St Dinosius's parish church in Irschen and ihe north wall of the choir square of St Lawrence's parish church in Glanhofen. " Si Dorothy's legend on the north wall ofthe parish church of St. Peierin? HqIz. :l> Alfred Schnerich, Diebeiden biblischenGeniälde/yklcndes Domes t.u Gurk. Mitteilungen der k, k. Zentralkomiaion. XIX. IS93, pp. 35-44 and 89-94-, XX, 1894, pp 143-150; KarlGinhirt, BrunoGrimschltz: Der DommCurk.Wien 10.10. pp. 95-102; Ilannckire Stein - Kaiser: Der alttesmmenttiche Freskeiizyklus in iter Vorhalle des Domes zu Gurk unter Berücksichtigung seiner Ikonographie, Wien 1975 [dissertation]. In the author's opinion it was an itinerant Italian painter from an out-of-the-way place (Friuli 7), who was only partly acquainted wiih the new Trecento works. (I wish io express my thanks to Robert Wlattmgg MA for referring me to this dissertation.) Cf. Tanja Gregorovii: Freske vpreddverjit krike stolnice, Ljubljana 1991 [dipioma paper|. On the question of the reception of Trecento elements in northern painting and I heir further development cf. Gerhard Sehmidl, Die C'horsehrankenmalercien des Kölner Doms und die europäische Malerei, Kotner Domblau, 44/45, 1079/80, pp. 293-3«, Gabriela Pritsche: Die Entwicklung des "neuen Realismus " in der Wiener Malerei: 133! his Mitte des ¡4. Jahrhunderts, Wien, Köln. Graz 1983 (dissertation J. These arc more distinctive than in oi her contemporary Carinthian works of art. A f'rench origin can be ascribed to the grey ha ¡red bearded old men with characteristically shaped eyes, broken eyebrow lines, lively gestures with splayed hands and fingers, now and then a figure standing in an attitude of slight torsion, figures standing slightly astride with open cloaks, hems of tunics tucked in behind then belts, the shape of beds, cloud-shaped hoops and knightly-arisiocraiic hairstyles, footwear and garments. 58 workshop, representing a completely isolated phenomenon in Caimthian painting of the second quarter of the 14th century? When all these questions have been posed, it is possible to establish that, with slight inconsistencies (as are variations in the size of the bays, the disregard for the decorative separating elements and the continuous combination of two scenes within one frame), only the decorative part really follows Iialian models in the Krka (Gurk) porch. It includes the trough vault painted blue and sprinkled with stars, the scenes running in horizontal sequences along the north and south walls, with a Cosmati border, a four-leaved medallion and acanthus. On the other hand, elements related to all these cases can be l ound in northern painting, independent of ihe Italian art of painting.1' Despite some Trecento elements and plasticity, northern High Gothic forms of Trench origin in some cases prevail in the figural style, the rhythm and the ways of draping. The use of perspective in the architectural background with hanging baldaquin arches, alien to Paduan painting, probably did not come about under the direct influence o i Italian models but rather under that of northern styles of painting, which had already been adapted to the new Trecento requirements,24 By linking ihe northern and Italian elements, this kind of painting is closest to the local ly-coloured Giottesque Rimini painting, which formed its own specific language based partly on the Assisi and partly on the Paduan tradition where Italian-Byzantine and northern elements are additionally emphasized. The second wave of ihe Trecento, which reached Carinlhia in the third quarter of ihe 14th century, is more organically connected with northern painting, Toward ihe mid 14th century, eclecticism can already be felt in the figural style and composition of works, executed entirely under northern influence, and the first attempts at using spaLial perspective can also be traccd, They show in the simplified folding of the drapery, the thicker and more picturesque contours of the body, the hairstyle, the coarse shading of folds, which brought about a more compact effect of the whole.This exhausted art with "drawing" tendencies paved the way for the second wave of Trecento influences and made a synthesis of both irends possible. Due to the appearance of a "mined" style and the popular note, it is " J i ir gen Michler, Orundlagen zu: gotischen Wandmalerei, Jahrbuch der Berliner Museen, XXX11, t yyO. pp. 85-136. Arranging scenes in horizontal rows also appears in northern painting, particularly in simple provincial church buildings, where it started lodeVtlop (at the same time as Paduan an. but independently of i ti towards the so-called Bitderwand. lliis phenomenon can also be seen in CflrinUlia in the ossuaries in Piswcg and Deimherg, dating from the last quarter of the 13lh century. In both of them Ihe scenes are Still divided by simple unicoloured stripes and little columns, while the painting in the Krka (Gurk) entrance porch goes a step farther and uses, according lu Italian models, a Cosmaii border as division. !i A similar architectural principle is found, for example, in the antependium in Kdnigsfelden dating from about 1350. 11 For example, the painting of the ossuary in Bistrica near Grades (Feislritz oh Grades), the north part of the exterior of Si Leonard's parish church in WeiBenstein, ihe lower side of the wall of the triumphal arch of St John's church near Si. Jakob (St. Joliann bci St. Jakob), the nave of St Lawrence's parish church in Kamen in the Podjuna valley (Stein un Jauntal), the north wall at the gallery level of St Michacl's parish church near Wolfsberg. 59 impossible ¡11 most cases to establish the sources of influence. There is no doubt that we are dealing with a son of pre-Friulian style3* with certain stimuli of the Trecento. These show particularly in the plastic presentation of the simplified drapery and parts of the body, the compressed proportions and the round, puffy type of face with oblong eyes and small, full lipp., which should not be mistaken for the softer, spongy and stronger plasticity of the Ffiulian facial types. Due to the inexpert, harder toning and thick-line rimming reminiscent of the "drawing" style, it often has a caricature-like effect. The gestures, figural types and iconographical patterns often follow also the models from the first half of the 14th century A novelty is the widening and a greater realism of the architectural scenery of the pseudo-Italian character which replaced the more fantastic, intricate and richer northern type of painting. The landscape with almost obligatory rugged Trecento rocks also gains importance and becomes epically widened.37 Rarely Walter Prodi; Diegotische Wandmalerei in Kärnten, Klagenfun 1944 (Prodi: Die gotische Wandmalerei), As pre-Friulian art lie classifies the ossuary in Krcanje (Greutschach. around 1360), scenes from Mary's life in St. Lip5near2enek(StFilippenob Sonnegg. around 1370), die Crucifixion on the north part of the exterior of St Ulrich's church in Platz (around 1370), St Dorothy's legend and Passion scenes at St. Peter im Holz (1370/ SO); cf. Andreas Resold: Fresken Iii Kärnten um 1400: Die Trecentarezeption in der Kammer Wandmalerei, Wien 1992 (diploma and MA papers, respectively! (Besold), pp. 9-12. He added to this group the later-discovered frescoes in die Gmünd ossuury (1370), the only ones containing an inscription with the date,as well as the painting Dn the exicrior of Si George's daughter church in (Je rl a moos (around 1380). I he painting of the south pillar in the monastery church in Mi ilstait (around 1380) and the picture of St Christopher on the exterior of the former church of St Elizabeth on the Plöcken Pass (1370/80), All those works were classified by Walter Frodl as Friulian, from about 1400 or a little later, on account of the Friulian features of the faces and the more articulate modelling. Some other works can also be considered as part of this group. These are the painting on the north wall of Ihe nave and part of the wall of the triumphal arch of the churches of Si James, the elder, and St Anne in Deinsberg (around 1380), the soulh wall of Mary's chapel in Lind in the Drava valley (1360/70), the choir square of St Banholomew's parish church on Reberca (Rechberg, around 1380) and the north pari of ihc exterior of the parish church at Sv. Jurij (St. Georgen) in the Zilja valley (around 1300). De spile the tradition of iconographical models, the ve/y scenes of the Journey and the Adoration of the Magi permit one to observe the progress of Italian elemcnls, which can be distinguished by their fashionable refinement of the figures, greater narrativeness (there is a greater number of servants in the suite and a new element appears in the form of a Negro with dogs). I he heightening oftfMS ambience through a more realistic vegelation and Trecento architectural elements (the fanciful Gothic baldaquin over the Virgin with Child is replaced by a wooden shed), Thus it is possible to compare the chronology of the scenes with Ihe Journey and the Adoration of the Magi on the wall of the triumphal arch of St Elizabeth's church in Ober/,cirmg(l 340-iO). ihe north nave wall of ihe parish church of St lames, the elder, and ,Sl Anne in Deinsberg (around 1350-60). the north wall of the presbytery of the daughter church in St.C'äcilien near Murau (1360-70), the souih wall of ihe Mariu Hilf chapel in Lind in ihe Drava valley (1360-70), ihe south wall iifilie presbytery of I he parish church in St, Lip5 ncarÄcnek (St, Filippenob Sonnegg. about 1370) and the Gmünd ossuary (around 1370). 60 does any painting of this group ever surpass the provincial artistic level.-14 The style varies from work to work so that we cannot speak of a single Trecento source or a definite school, The influence may have come from any part of Upper Italy ranging from Friuli over Lombardy to South Tyrolia. The puffy Italian-like faces, lighter streaks of hair and large, oblong and wide-open eyes, which are in fact reminiscent of Friulian painting, prompted Tatjana Spiialar21" to classify the Brdinje frescoes as belonging to a somewhat later Friulian group, a trend originating from Vilalo da fiologna Iroin Udine. She mentions then similarity to the fresco of St Christopher on the exterior of the former church of St Elizabeth on the Floeken mountain pass2"3 and the even more characteristic wall painting on the upper storey of the Gmiind ossuary1" which corresponds with i5 A part from t he G m tind ossu aiy, fu rthcr e xcepti uns are the scenes de pieti ng the A dotation of the Magi on the north wall of the parish church in Deinsberg and the Journey and the Adoration of the Magi in Mary's chapel in Lind in the Drava valley (consecrated in ¡347; the inscription dating from the 1 &th century informs us that the painting originated from the same year, hut the style of the frescoes suggests otherwise, and they were more probably painted between 1360 and 1370}, There arc iconographical similarities with i he Joumey and I he Adoration scene in the cemetery church of St Elizabeth in Oberzeiring in Styria dating from 1340-50. Both scenes are painted in the opposite direction to the usual one, thai is to the left from ihc onlooker's viewpoint. In both cases the Virgin with the Child in her arms is sitting under the baldaquin which is painted in perspective, with the view from below, and I lie re are similar scenes of galloping horses with riders. Stylistically, however, the scenes belong to different worlds. In Oberzeiring they are carried oui in the characteristic "drawing" style of the 1340s. while in Lind the new iiahan fashionable politeness with a Czech quality to the faces is noticeable. About Oberzeiring cf. Ulrich Oeherhauer: Die Wandmalerei der Steiermark in XIV Jahrhundert, Gray 1954 [dissertation; Ocherbauec |, p. 64; id., Der Fresken/yklus in der Knappetiklrche zu Oberzeiring, ÖZKD, XI. 1957, pp. 62-69, ihe frescoes are dated beiween 134(1 and 1350; id., Wandmalerei, Gotik \n der Steiermark [exhibition catalogue!, Graz 1978, p. 96. "'S pit alar, pp. 9-12. I'rod I: Die gotische Wandmalerei, p. 74, fig, 17. The author classifies it as Friulian painting, related to the paintings in Neuhausen upon Zilja and dates it to soon after 1400; Ocherbaiier (p, 77) notices the resemblance to the votive picture of Christ's Entombment and the Annunciation on the south w all of the town parish church in Murati. It is classified as belonging to the Friulian circle and as following the model of S, Chiara in Udine to a great extent (cf. Heribert Hutten Italienische Einflüsse auf die Wandmalerei in Osterreich im ¡4. Jahrhundert. Wien 1958 [dissertation, Hu iter], p. 94). Like Frodl, lie classifies it as Friulian and relates it to Neuhausen. Resold (Besold, pp. 36-37) notices ihe strong schematiiation reminiscent of icon pamting and is in favour of an earlier dating, around 1370-81), whereby ihe masler could have been the teacher of the Neuhuiisen painter. Thus St Christopher on the Höcken Pas*, dated earlier, could represent a stage between pre-Friulian and Friulian painting. 30 Emst Bacher, Zu den Pres ten funden des leisten Jahrzehnts: Kärnten, ÖZKD. XXIH. 1969, pp. 129-L 31. On the account of the schematic work and prevailing northern atmosphere the frescoes are attributed to a kit a I master who had learned variousTreeeuto means of expression from itinerant painters from Friuli and Upper Ituly. Cf. Maria Prokopp: Italian Trecento Influence on Murati in Eusl Central Europe, particularly Hungary. Budapest 1983. pp. 38-39. 61 Brdinje in terms of (he time of origin ¡uound 1370 and the facial types of the figures. Yet the similarity of the features does not seem to be strong enough to prove that the mentioned frescoes could have been the work of one workshop or even the same master. On the Plöcken Pass one finds a similar form of magically staring eyes with lowered eyelids, and similar ways of shading and of rendering the plasticity. There are also similarities m the ornamentation of the garment. However, it seems that the fresco with its soft, refined tinting and intensified plasticity has made an advance on the one in Brdinje. What Drdinje and Gmünd have in common are the tall, slim silhouettes of the women saints wearing garments with low necklines (5r Harham in Gmünd and the two saints in Brdinje) {pis, 24. 18, 20), the posture of the awkwardly shaped hands with their forefingers outstretched and similarly shaped wavy, fleecy hair (Man' in the scene of her Betrothal in Gmünd and St Margaret in Brdinje) (pis. 14, 13). further similarities are found in the bearded white-haired figures of old men and their gestures (St Joseph in Mary' s Betrothal in Gmünd and the Apostles in Death ot the Virgin in Brdinje) (pis. 14, 13), as well as in the colour scale of green, brown and ochre tones and in ihe border with discs, which is simpler in Brdinje than in Gmünd. The latter is drawn in perspective. Yet on a detailed comparison, quite a few differences emerge and T. Spitalar's statement about different workshops proves entirely correct. In Brdinje the faces, eyes and noses have black contours, the contrasts in shading are more intense and the figures are more massive, which is not the case in the more subtle figures in Gmünd. The coarse rustic details can he ascribed pailly lo the lower quality of the Brdinje frescocs and partly to the more explicit Italian influence they followed, while the Gmünd frescoes Temain closer to the northern art of painting, i.e., at least with rcspcct to the figural representation, Compared lo Brdinje. the drapery in the wall paintings in Gmünd, which are of higher quality, is more conservative and with fewer fashionable details. Wiih its dry way of modelling, simplified garments falling straight toward the ground, with harsh concave folds, and by wrapping the figures in long cloaks, it repeats the way of modelling from the mid 14th century." The main difference, however, is in the role of architectural elements and the landscape, which play an important, although isolated, role in Gmünd,31 but are altogether lacking in Brdinje, With 11 On Ihe upper floor of the former castle chapel in Aufenstein in the vicinity of Muirei near the Brenner Pass (today St Catherine's daughter church in Navis), in ihe scene of Ihe Presentation at the Temple, one comes upon a facia! lypc with a kerchief on its head similar to the ones in Mary's Betrothal and a similar type of draping to Mary's Annunciation in Gmünd. The Evangelist John painted on die wall between the window* can be compared to St Barbara i.n Gmund with his long garniert falling straight down with two concave folds on each side, Cf. liva Prodi-Kraft; Zu den Preskenfunden des letzten Jahrzehnts: Tirol, ÖZKD, XXII!, 19(i