The Garden of the Archiepiscopal Mansion in Goriane: Its Image and Importance through Time Darija Mavri A historic

garden is a shaped space that establishes a relationship between a building, architecture, art on the one hand, and nature on the other It is a living wor! of art whose appearance is wrought b" nature and its elements #plants, climate conditions, the seasons, etc $, as well as through man%s action or avoidance of an" activit" A garden is both a natural and artificiall" designed space, and it has all the features of a living being #it is born, grows, buds, blossoms, bears fruits, and dies& it breathes, feeds, and re'uires care for its development$, and it is also a wor! of art #a product of man%s creativit" and his internal e(pression$ A garden differs from built architecture: it is not created once and for all, but as a living being it depends on man%s care and maintenance A garden is a place and fruit of man%s creativit", a world shaped b" man according to his own ideas and principles, but one that ta!es into account the 'ualities of individual plants and the terrain It is an embodiment of man%s world of ideas and ideals, and an e(ternal image of his inner space ) The s"mbolic nature of gardens is highl" diverse and multila"ered, perhaps most full" e(pressed in the garden of *den +t ,ohn Damascene described *den as a place of jo", - a paradise,. in which trees and lush plants grew, where perpetual spring reigned, with plants blossoming and bearing fruit at the same time / in short, a place of opulence, satisfaction, happiness, and eternit" After Adam and *ve were evicted from the garden, its gate was closed to mortal man, but a primordial memor" of *den and its perfection has remained This is what man has been endeavoring to recreate on *arth as a worldl" paradise 0owever, it can onl" be accomplished b" onl" a chosen few To create a worldl" paradise according to man%s measures and ideals is an act that accords its creator a special place in societ" 1" designing, growing, and modif"ing plants, and giving them an appearance that corresponds with the internal concept, man li!ens his 2reator b" ma!ing a world after his own ideals In the course of histor", the art of gardening3 was therefore often the privilege of sovereigns, nobles, and
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+ee Amman -445 +t ,ohn Damascene thought that the word Eden meant jo" or delight +ee Delumeau -444 . The word paradise is derived from the 6ersian words pairi 7enclose, embrace, confine% and daeza 7wall%, meaning a space enclosed b" a wall #Delumeau -444, -8$ 3 The term the art of gardening refers to the design and maintenance of a garden as an integral wor! of art, including its artistic compositional and iconographic la"out, shaping the terrain, and planting, growing, and

eminent warlords , who additionall" e(pressed their role and importance in societ" through their gardens, demonstrating the breadth of !nowledge and reflecting their elevated social status The" achieved this b" implementing an appropriate iconographic concept, growing rare and precious plants, artisticall" shaping plants, and b" selecting decorative elements with s"mbolic content #sculptures, architectural elements, and the li!e$ 9r with :ant%s words: gardening is 7 the art of arranging in beauty the products of nature to express aesthetic ideas according to the ideology of language including it amongst the pictorial arts as an artistic expression of the human spirit% ; In a garden the man as a social being meet the man as an individual A garden e(presses man%s place in societ" If *den is ta!en as a bountiful garden, it is perceived as a s"mbolic image of a worldl" !ingdom The owner of a garden, who ma" also be its designer, acts as a sovereign that is in control of the entire area and tailors it to his own ideals Although a garden is enclosed b" a wall and thus separated from the natural and urban environments, it nevertheless communicates with the environment in which it is incorporated A garden tells us about the power, abilit", s!ills, enterprise, and influence of its owner The wall separating the individual from societ" emphasi<es his individual role in it, designating him as a member of the elite +imultaneousl", its structure is an e(pression of man%s inner, perhaps most intimate longings, and as such enables him to withdraw into himself / into meditation and contemplation *ven though the accents of the garden design and content might in their fullness onl" be understandable to its owner, ever"one else is free to perceive them in their own wa"s 1ehind ever" universal form is a ver" personal, intimate note Man as an individual and as a social being e(presses himself through his garden in his double, multila"ered, and contradictor" nature As =ucia +erredi sa"s / the garden is a spiritual lu(ur", the onl" true and authentic one > The 'uestion that then arises is how we are to view a garden that is laid out as part of the residence of a church dignitar", who / however individual a personalit" he ma" be / primaril" remains an official person with a given political, administrative, and financial power Moreover, he represents the 2hurch, born as a conse'uence of the loss of *den with the aim of helping people find the wa" to the ultimate paradise According to the ?enerable 1ede, the garden is a s"mbol of both the 2hurch as an institution and our promised
pruning plants #including in the form of various figures as topiar"$ ; Immanuel :ant, 2riti'ue of 6ure @eason, note ta!en after: AeliB )88>, .; > AeliB )88>, .;

Aatherland C To answer this 'uestion, this article strolls through histor" and galler" of images depicting the garden of the Archiepiscopal Mansion in Goriane 5 The illustrated histor" of the garden The construction of Goriane Mansion is mentioned b" ,ohann Deicard ?alvasor in Die Ehre de Hertzogthums Crain of )>58 0e wrote that it was built b" the bishop of =jubljana, 9tto Ariedrich of 1uchheim, on a slightl" elevated site below the old castle, which was hit b" lightning and completel" destro"ed in )>). 8 Aollowing advice of his general vicar Arancesco Ma(imiliano ?accano, the bishop decided to have a new mansion built because the severel" damaged castle was not worth the cost of renovation )4 1oth, ?accano%s letter to 1uccheim and the fact that the last became bishop in )>3),)) den" the opinion of ,a!i that the building was constructed between )>.) and )>.3 )- Ana =avri). writes that the construction plans for the new building were made b" Arancesco 9livieri, )3 who presumabl" led and supervised its entire construction If this is true, 9livieri did not see the building finished because he died before, in )>;> An interesting fact is that the building%s concept #a rectangular, closed la"out with an entrance tower and open court"ard$ is of the same architectural t"pe as the 1uchheim famil" castle in :rumbach, which was built in the si(teenth centur" The residence of the 6rinceEbishop in Goriane was presumabl" read" for habitation in )>;3, ); and finished in )>>C in 1ishop ,oseph @abatta%s era 1ased on this information, it must have been built in 'uite a short period: construction cannot have started before )>38, )> and *mperor =eopold I alread" dined at the mansion on his wa" to =jubljana in )>>4 9ne can onl" guess what the mansion and garden in Goriane loo!ed li!e in 1ishop 1uchheim%s time because ?alvasor%s illustration dates from a later period, that of 1uchheim%s successor ,oseph @abatta ?alvasor set off on a journe" around *urope and Africa in )>;8 and returned in )>CC 5

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1" then both,

Delumeau -444, 33 9n the mansion, see #among others$: ?alvasor )>58, )), )8)/)8-& +tes!a )83-, >C/5;& =avri -443, .)/>8& Fumi )8>8, )43/))-& +topar -444, ;C/C>& +topar )88), -->/--8& 6relovGe! )85-, ./)4& ,a!i )88;, )4& ,a!i ));E))> 8 ?alvasor )>58, )), )8)/)8)4 AA= #Archdiocesan Archives of =jubljana$, :A= f >8, ?accano%s letter to 1uchheim, dated )> March )>33 #=avri -443, 33$ )) Dolinar -44C, .)E.. ),a!i )88;,)4& ,a!i )88C, )); ). =avri -443, 33 )3 Arancesco or Aran< 9livieri was an architect and stonemason 0e is first mentioned in )>.5 and died in =jubljana ca )>;> #Saur Allgemeines Knstlerlexi on, C, Munich and =eip<ig -444, 33.$ ); +tes!a )83-, >5 )> =avri -443, 3; )C @adics )8)4, C)/C8

the building and its surroundings, were alread" brought to a conclusion Ana =avri mentions that 1uchheim had a garden laid out, planted with flowers and other ornamental plants, which he had ordered from different places, and also that he hired a 7special gardener% )5 1ut what was a 7special gardener% in this conte(tH Does the term refer to special s!ills and !nowledge related to growing plants, or was a specific person made responsible for the regular maintenance of the gardenH Infortunatel", I have not #"et$ been able to find information relating to the activities of this gardener, nor a list of the plants in his care This information would allow us to !now for certain whether 1ishop 1uchheim was sei<ed b" the same collecting passion as man" @oman dignitaries were A veritable cult of flowers spread in @ome and around *urope in the first half of the seventeenth centur" 6rosperous burghers and nobles created collections of flowers and rare plants To maintain such gardens the" hired 7gardeners%, who were actuall" much more than that: the" !new not onl" how to grow the new plants shipped from all corners of the world, but also how to crossEbreed them, find new and rare species, e(periment with them, and so on )8 2onsidering that the 6rinceEbishop was a lover of the arts and beaut"-4 and enchanted b" @ome, one of the most important art centres and the cradle of the baro'ue st"le, it can be assumed that in line with the @oman fashion he primaril" wanted to create a collection of flowers and rare plants, and that the design of the garden was of secondar" importance It is well !nown that these flower gardens initiall" had a ver" simple la"out: the" followed the medieval concept of division into four parts with a fountain in the center In the second 'uarter of the seventeenth centur", and largel" under their influence of Aerrari%s De florum cultura, published in @ome in )>..,-) designers started developing increasingl" ornamental la"outs The worship of Alora and conse'uentl" the cult of flowers was ver" controversial, especiall" with the 2hurch, until the earl" seventeenth centur" 1ut Aerrari, who dedicated his boo! to 2ardinal Arancesco 1arberini, a nephew of 6ope Irban ?III, invented a different, pure, and innocent Alora, who 7plants flowers in the souls rather than in the soil% -- Alowers were not merel" intended for sensual enjo"ment and
)5 )8

=avri -443, 3; +ee 2apitelli -443, ((vii/(lii -4 =avri -44., ;./53& =avri -44C, 3./>. -) Dritten b" the ,esuit Giovanni 1attista Aerrari 0e was born in +iena in );5. and moved to @ome, where he entered the +ociet" of ,esus in )>4- 0e later became a professor of 0ebrew at the ,esuit 2ollege in @ome, and was a linguist, man of letters, historian, and 9rientalist 0e was a member of the committee for translating the 1ible into Arabic 0e lived in @ome until )>;. and then returned to +iena, where he died in )>;; In the conte(t of this article he is particularl" important as a competent writer on botan" and gardening 0e wrote two boo!s on this topic: the first, De florum cultura, was published in =atin in )>.., and in Italian, entitled !lora o"ero cultura di fiori, in )>.5 The boo! is dedicated to the art of growing flowers and their s"mbolic meaning 0is second boo!, Hesperides, was published in )>3> and mainl" addressed the cultivation of oranges and lemons #Tongiorgi Tomasi -443, i(/((v$ -Aerrari )>.5, facsimile -443, no pagination

pleasure& their s"mbolic value was what gave real meaning to their cultivation +uch a specific, ascetic spirit developed under the influence of the neoE+toics headed b" ,ustus =ipsius =ipsius wrote in De constantia that gardens are not laid out for enjo"ment of their flowers, but for the peace the" offer -. In line with neoE+toic ideals, the presence of flowers in a garden was justified onl" because of their s"mbolic value Infortunatel", the lac! of data ma!es it impossible to establish what s"mbolic content the garden in Goriane had The list of boo!s from 1uchheim%s estate does not mention Aerrari%s !lora o"ero cultura di fiori, nor an" other boo! on botan" +uch boo!s ma" have been part of his estate in @ome, but I have not been able to verif" what he had there Another 'uestion arises: =avri mentions in her articles #and this is confirmed b" the preserved correspondence$ that 1ishop 1uchheim rarel" resided in =jubljana, or indeed in an" other residence in 2arniola 0is general vicar, Arancesco Ma(imiliano ?accano,-3 must therefore have pla"ed an important role in the management of the garden, and undoubtedl" also in its design 9ne ma" then as! to what e(tent the mansion was built, in line with ?accano%s taste or the princeEbishop%s The princeEbishop%s absence from his diocese ma" have reduced his interest in embellishing his residences in accord with his own wishes and tastes Dhen he died suddenl" in )>>3, he was succeeded b" ,oseph @abatta, whose brother Anton had the castle in :anal adorned with 7a garden with fountains so wonderful that it matches man" of those in the environs of @ome% -; ,udging from ?alvasor%s pictures, 6rinceE1ishop ,oseph @abatta probabl" did not ma!e an" major changes to the garden%s e(isting design The lac! of detailed information on the appearance of the garden at the time of his predecessors ma!es a comparison impossible ?alvasor made two drawings and a print 1ecause of the difference between the drawings in the same s!etchboo! I assume that the first was made before the mansion was finished It -> #Aig )$ represents the mansion from the north ?alvasor emphasi<ed its architecture, which alread" suggests the later development from a fortified building to a comfortable residence
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?enturi Aerriolo )88., >;/>C Arancesco Ma(imiliano ?accano #)>48/)>C-$ studied theolog" at the Collegium #ermanicum et Hungaricum in @ome, received his doctoral degree in theolog" and philosoph", and was then appointed parish priest of @ibnica 0is activities led 6rinceE1ishop 1uchheim to appoint him general vicar of =jubljana in )>3), where he e(celled in his pastoral and economic duties& 1ishop 1uchheim was indeed often absent and more or less left the management of the diocese in ?accano%s hands The vicar%s organi<ing s!ills led to his appointment as bishop of 6iJen #Ital $edena$ in )>3>, but he continued to be activel" involved in the management of the diocese of =jubljana as is confirmed b" his e(tensive correspondence 0e was appointed bishop of Trieste in )>>- In spite of his numerous activities and obligations, he did not fail to embellish the town: he had the episcopal palace renovated, the gardens laid out, and he increased the diocese%s revenues #Dolinar )854/)88), .);$ -; % % % un #iardino con fontane cosi delizioso che puo pareggiare molti nelle "icinanze di &oma #Dell%Agata )C-5 #note ;4HHH$, ;) +ee more about the garden in Mavri -44>, 355/38) -> , ? ?alvasor, Goriane, leaf from the s!etchboo!, red chal!, around )>;4, the page is not signed
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Its central part is of the castellum t"pe, reinforced with corner towers on the garden side In this case, the towers no longer have a defensive function, but merel" a s"mbolic one, and this is further indicated b" the fact that the" were placed facing the garden, not at the front of the mansion A possible interpretation of the construction of towers on residential buildings with no defensive functions is cited b" Ilmer, who asserts that, at the time when noble titles were granted in great numbers, the owners of representative buildings wanted to emphasi<e that the" belonged to the old nobilit" -C +uch proof was not even necessar" in this case, but the st"le of the towers nevertheless corresponds with the manner in which fortified buildings were constructed The entrance facade is e(tended and features galleries, as well as a tower or a turret in the center The two wings% galleries are of particular interest: in the renaissance architecture of northern Ital", the" are often connected with the garden The higher roof at the ends of the wings suggests final towers, called colombare, which are t"pical of ?enetian countr"side villas *(amples of this st"le / though merel" schematicall" / are found in 6alladio%s villas #e g , ?illa Angarano near 1assano$ +everal authors -5 mention a d"namic entrance facade, but this is hard to ascertain because onl" ?alvasor%s description without illustrations e(ists Instead of the two towers flan!ing the main faKade, ?alvasor reports two wings with galleries and rooms -8 The garden with a wooden fence around it, located below the building, is merel" suggested 2onsidering ?alvasor%s drawing, the garden as regards its desing could not have been particularl" noticeable at that time& the mansion itself seemed much more prestigious This is also indicated b" the mansion%s location: it covers the entire area, giving the impression of an ideali<ed landscape, further enhanced b" the ruins of the old castle in the bac!ground In some details, this drawing differs from the second one, .4 #Aig -$ which was made from a cavalier perspective and better displa"s the building and garden There are several new elements in the building: the portal is more rustic, there are more windows in the corner towers, the wings have a me<<anine, obviousl" intended as the living 'uarters, whereas in the first drawing there are no window openings in this section The roof above the wings is also shaped differentl" and the central, cubic part of the building seems to be e(tended with two pavilions, as Lace Fumi believes .) In front of them is a low e(tension The roof above the
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Ilmer )883, 5)/5Fumi )8>8, )43/))-& 6relovGe! )85-, M -8 Auf der obern Seiten aber ' finden sich ' and statt eines (hurns ' auf )ed*edem Ec zierliche !lgel ' mit #allerien oder Spatzierg+ngen ' und ,immern "ersehn .4 , ? ?alvasor: Goriane, around )>C;, in! wash drawing .) Fumi )8>8, )43/)4>

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entrance tower is different as well: it ends in a p"ramid and the tower seems higher and bigger than in the chal! drawing 0owever, the principal novelt" is the garden, which is separated from the building& this is t"pical feature of medieval and earl" renaissance , especiall" flower gardens It is enclosed b" a wooden fence and obviousl" e(tends across the entire width of the mansion%s main facade The connection with the building is made b" a flight of stairs that leads through a simple portal and directl" to the fountain in the center of the garden To the northwest is a passage to the pheasantr", ne(t to which, but alread" on the other side of the fence, stood a small pavilion The la"out was s"mmetrical and the central accent was created b" the fountain The iconographic source for such a garden composition ma" be in the notions of paradise, where the four rivers spring, flowing into all four directions 9n the left of the ornamental garden, there was a smaller, s'uareEshaped one, divided into beds, where most li!el" herbs or even vegetables were grown This ma" have been the !itchen garden ?alvasor mentions in the te(t .- Although this is not emphasi<ed in the drawing, it is obvious that the garden was laid out on a lower, probabl" artificiall" leveled terrace, as was t"pical of renaissance gardens from the earl" fifteenth centur" onwards The most important feature is the fountain, which was of simple design / instead of a sculpture inside, it is decorated merel" with some sort of an obelis! or p"ramid The cultivated land probabl" e(tended to the right of the building, separated from the garden The print b" Andreas Trost .. #Aig .$ 'uite accuratel" follows the in! drawing .3 The copper engraver allowed himself some libert" in the design of the garden 0e preserved its central, s"mmetrical la"out, emphasi<ed b" the fountain with its high water jet, the wooden fence, and the side section, divided into several small areas b" wooden partitions / probabl" the pheasantr" The ornaments on the beds led man" researchers to assume that there was a baro'ue garden at the foot of the mansion 0owever, what ?alvasor%s picture represents is more reminiscent of an earl" formal garden design, and the patterns on the beds do not refer to an embroider" parterre / which was certainl" un!nown in our countr" at that time / but to the decorative character of the garden The onl" nonEplant ornament is the fountain, placed at the a(is with the garden portal, the portal of the mansion%s garden facade, and the atrium%s main entrance The ornamental nature of the garden is further
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#leich unter dem Schlo ommt man ' zu einem sch-nen ,ier. und /lummen.#arten ' *ie auch zu einem !asanen.#arten% 0itten im #arten springt ein /runn nstlich empor% Ausser diese ' seynd noch andre #arten mehr "orhanden ' *elche sich "on den Sch-nen nich auschliessen lassen #?alvasor )>58, III , )8-$ .. Andreas or Andrej Trost #)>.3/)C45$ was the onl" one among the engravers in ?alvasor%s print institution that participated in all his editions There are two conjectures about his origin: the prevailing opinion is that he was a local from Deggendorf, 1avaria, but there are claims that he was from the environs of Gornji Grad or from 0otinja vas near Maribor 0e also wor!ed with Georg Mattheus ?ischer in the publication of his (opographia Ducatus Stiriae and continued ?ischer%s wor! for ten "ears after his death #@eisp )85., )))/))-$ .3 Andreas Trost after ,ohann Deichard ?alvasor: #ori1ane, leaf from (opographia Ducatus Carnioliae 0odernae2 )>C8, copperplate print

emphasi<ed b" the three figures ?alvasor transferred to copperplates There are two fenced areas to the right and left in the print, probabl" containing the vegetable and herb gardens An important turning point in the architectural and garden histor" of the archiepiscopal mansion came during the time of 6rinceE1ishop *rnest Amadeus Attems #)C3./)C;C$, who completel" rebuilt the mansion 0e started immediatel" after he assumed the position of bishop in )C3. 6relovGe! maintains that 1ishop Attems desided between two master builders, Gregor Mae! and 2andido Nulliani, and finall" entrusted the wor! to the latter one .; A preserved invoice issued b" the architect proves that he participated, "et his actual role in the renovation is not clear .> 9ther names encountered are Miha :oGenina, .C the stonemason Aranc Gromni!,.5 and the master builder Gregor Mae!, who wor!ed at the mansion as a plumber, together with ,ane< TomaO 6lan! #,ohann Thomas 6lan!$ .8 At that time both the building and the garden were modelled, which is evident from a painting b" ?alentin Met<inger 34 #Aig 3$ 1ecause the painting has no artistic pretensions at all, it was presumabl" made to represent the entire comple( in the most impressive wa" , and this is the first picture in which it appears as a whole The garden facade was changed: the two wings have lost much of the lightness previousl" created b" the open galleries It seems that new wings were added on both sides of the building and that the" were mainl" intended as living 'uarters Two interpretations are possible: either the old wings were ta!en down and new ones erected, changing the former castellum into a palace, or new wings were added to the e(isting side wings and their galleries, perhaps creating two side court"ards The articulation of the garden facade was achieved b" the protruding mass of the two round towers and the projections at the ends of the wings, as well as with the decorative rococo window frames The portal is no longer mannerist and rustic, but baro'ue and ornate, and above it is no longer a balcon", but a coat of arms, possibl" b" the =jubljana sculptor 0enri! Mihael =ohr 3) The building and
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6relovGe! )85>, )44 2andido Danielle +ilvestro Nulliani or +uliani #)C)-/)C>8$ was a builder from Trieste who probabl" moved to =jubljana at the invitation of the Trieste native Giovanni Ausconi, the builder of the church of +t 6eter in =jubljana Nulliani became a citi<en of =jubljana through marriage and ac'uired a craft license 0e created the plans for the house of ,ane< Anton 6ucher of 6uchenthal, nowada"s better !nown as the :o<ler house, which was demolished in )8>4 0is st"le derived from the ?enetian baro'ue traditions, which he attempted to transfer inland .> Invoice of 2andido Nulliani from C December )C3C, AA= / Goriane, fasc )3: the architect invoiced onl" the costs of the masonr" wor!, while there is no mention of creating the building plans .C @eceipt from 3 August )C.;, AA= / Goriane, fasc )5 .5 Ibidem .8 @eceipt for pa"ment of the completed roofing wor!, undated / AA= / Goriane, fasc ). 34 ?alentin Met<inger: Knezo3 ofi)s i grad #ori1ane, )C;8, oil on canvas, Lational Galler", inv no )533 3) The invoice from )C33 #AA= / Goriane, fasc ).$, issued b" the sculptor 0einrich Michael =ohr, refers to the e(ecution of a coat of arms in stone, but does not state where it was located Its attribution is therefore conditional

garden are connected in several wa"s The garden now e(tends to the building and is enclosed b" a wall It is laid out on two levels: the upper is occupied b" the building itself, on the lower is the formal garden The two levels are connected b" a steep slope with two s"mmetricall" arranged ramps that meet at the central a(is emphasised b" the fountain and leading to the garden gate ne(t to the +ora @iver The plateau on which the building stands seems to be merel" grass covered As was then common, the area to the side of the building was reserved for a variet" of events, tournaments, concerts, and social functions It is therefore usuall" without an" special plant decoration Meanwhile the formal garden is divided into two s"mmetrical parts, enclosed with a range of #most li!el"$ fruit trees 6aths divided each part into four s'uare beds of e'ual area The ornament is clearl" visible onl" in the beds above the central cross path, whereas those below it are largel" hidden b" the crowns of trees The decorative motif is a !ind of lab"rinth created b" a #presumabl"$ evergreen hedge, repeating a pattern that was ver" common at the time / a s'uare with a circle drawn inside of it The s"mbolism of this pattern combines elements of the divine, endless, and eternal #the circle$ and the earthl", human, and transitor" #the s'uare$ The interconnection of these basic forms is also recommended b" Aerrari in his !lora o""ero cultura dei fiori%45 The low, pruned borders indicate that the la"out was somewhat influenced b" baro'ue st"le 0owever, it was no more than an influence because the dimensions of the garden are too modest to compare it to baro'ue gardens The clear delimitation of the garden%s area b" a stone wall separating the garden from its environs and the emphasi<ed central perspective a(is are t"pical of the renaissance as well as of mannerist gardens Immediatel" below the emban!ment at the garden wall stands a #wooden$ garden house The commissioner obviousl" wanted to view the entire la"out from a somewhat elevated spot It is interesting to note that there were no flowers in this section to spoil the la"out%s grave statel" nature 0owever, it can be assumed that there was a flower garden b" the building, but it ma" have been less noticeable, perhaps because of its less ambitious nature The parterre was decorativel" designed, but it nevertheless seems that the garden had 'uite a practical function in addition to its ornamental function 1ased on preserved correspondence and invoices, the lower parterre was presumabl" enclosed b" fruit trees 1etween )C35 and )C38 a pond was presumabl" constructed close to the building,3. although it is not visible in the picture The practical character of the garden is also indicated b" the staffage figures: a man with a wheelbarrow, a man pruning the hedge in the garden, and a woman with a bas!et on her head on the ramp The garden design ma" be
33.

Aerrari -443, -8 +tatement of the costs for the construction of a pond at the mansion, AA= / Goriane, fasc )3

attributed to Matija Perbov, whom the manager ,ane< ,urij Muli #,ohann Georg Mulitsch$ paid to embellish the garden 33 +everal authors3; mention that the rebuilding wor! continued into the )C;4s, until the 6rinceE 1ishop%s death, and his successors incurred great e(penses in maintaining and renovating the building In the )CC4s and )C54s, the building was renovated b" =eopold 0ofer and =ovrenc 6rager3> +apa in his monograph" about the latter one doesn%t mention his connection with the Goriane Mansion 0e attributed to 6rager the reconstruction of the @avne near 6iv!a Mansion3C, where we can find similar st"listic features in architecture the placement in landscape and the garden la"out The garden must have been in ver" poor condition at the time because the report on the e(penditure for the period between -; April )CC5 and )CC8 states that the it was destro"ed and that it would ma!e sense to plant herbs so that the garden would not remain uncultivated 35 +urviving invoices show that a great deal of mone" was spent repairing the buildings and improving its environs In )C85, the masons ,ernej #,erni$ Triller and =ovrenc 9rel #=oren< 9rrou$ repaired the garden wall, in )54) ,urij Lova! #Georg Loua!$ made a new gate, new fruit trees were bought, and the gardeners Anton +chumerl and ,oOef ?ali #,oseph Dallitsch$ were hired to tend to the garden 38 +ome of the uncertainties in the depiction of the garden and building are e(plained b" a description from )54C ;4 It states that the mansion had three floors and a bric! roof The upper floor had a large anteroom, a galler", and eight rooms The farmstead #0ayerhof$;) consisted of a building with stables and for coaches, a cowshed, a small wooden pigst", the !eeper%s 'uarters, and a thatched ice cellar In addition to the buildings, there were two gardens In this description the large pleasure garden included the ornamental and vegetable part, was enclosed b" a wall and located ne(t to the mansion& the smaller was enclosed b" a wooden fence and had a shingleEroofed garden house The ornamental and utilitarian #vegetable$ sections of the garden were part of the same whole& this was nothing new and did not affect its ornamental value Arom the renaissance onward, these two gardens fre'uentl" merged #the practice was started in Arance in the si(teenth centur" and b" the eighteenth centur"$spread
33 3;

@eceipt from )5 Ma" )C.;, AA= / Goriane, fasc ). +topar -444, ;5/;8& 6relovGe! )85-, ;/> 3> About =ovrenc 6rager E see +apa -44. 3C +apa -44., );E)>, .> 35 AA= / Goriane, fasc )3 38 AA= / Goriane, fasc )3 ;4 Description of the Goriane estate from )C Aebruar" )C.;, AA= / Goriane, fasc ); ;) The farm #0ayerhof$ was a comple( of buildings including the !eeper%s 'uarters

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across Austria to our countr" Dhen planting vegetables, certain aesthetic and design re'uirements were ta!en into account These often included less decorative or seemingl" less orderl" flower gardens, primaril" collections of rare flowers or aromatics and spices Dating from the same time as this description, was a plan of the +ava @iver basin b" Aranc Qerovic
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#Aig ;$ ,udging from his plan, the central garden preserved the structure from the times of 6rinceE1ishop Attems, and a small formal garden was probabl" created between the mansion and the coach house The demanding maintenance of the estate, the fre'uent repairs, and the related high costs were displeasing the bishops from the eighteenth centur" onwards In )C>., 6rinceE1ishop 2ount =eopold ,oseph 6eta<<i complained to *mpress Maria Theresa about the 7overlarge, poorl" constructed, and unnecessar" building% ;. 1ishop Aloj< Dolf put an end to these problems when he opted for a more modest and less e(pensive residence *(tensive rebuilding wor! was started during his tenure and largel" entrusted to the Ariulian builder 2ristoforo 2ragnolini ;3 Action was indeed urgentl" re'uired because the mansion and the terrain around it were seriousl" threatened: water eroded the soil and the buildings were increasingl" less safe Lot surprisingl", the bishop first ordered the demolition of several sections of the residential building #the wings and top floor$, as well as the outbuildings and the farmstead The decree on starting the renovation was adopted on )5 9ctober )5-C
;;

The side wings were

the first to be demolished Dhat remained of the wings was however still too high and the walls were lowered According to Met<inger%s depiction, the central section of the building was never higher than it is toda": the entrance facade seems higher onl" because of the elevated viewing angle Aurthermore, the invoices mention onl" the demolition of the two side wings and the entrance facade The entrance facade was rebuilt to plans b" 2ristoforo 2ragnolini, but when finished it lea!ed after rain and Anton 2ragnolini had to rebuild it ;> The entire building was reEroofed The old facade featured a cloc! that is missing from the new one It was probabl" located in the gable, which was modified in the new facade ;C

;;.

Aranc +cheroui<: Goriane na mapnem nartu poreja +ave, )54C, Archives of the @epublic of +lovenia +topar -444, ;8& 6relovGe! )85-, ; ;3 +topar -444, ;8& 6relovGe! )85-, > ;; All further information about the changes and course of the wor! are ta!en from the report on repair costs in )5.4, )5.), and )5.- / AA= / Goriane, fasc -. ;> There is no information on possible famil" or other ties between these two builders ;C The roof was laid b" Matija :ralj #Matthias :rall$& the receipt for the wor! is dated > ,une )5.. The document is mentioned in the report #note ;;$

))

The demolition of the wings created space for two new pleasure gardens This wor! was started in )5.- Airst the debris had to be removed and replaced with soil, which was supplied b" Andrej :oGenina The design of the garden was entrusted to the landscape gardener 1ohinc #Dohin<$ from =jubljana 0e decided to plant flowers and bushes, and to cover the paths with gravel supplied b" ,oOef 1abni! #,oseph 1abnig$ At the same time, foreman #Mauererpolier$ Matija Dobravec #Matthias Dobran<$ and his team constructed the scarp below the residential building This was urgentl" re'uired because the terrain was subsiding, the principal reason in fact for the reduction of the main building After the completion of the scarp in late August )5.- it was also necessar" to restore the garden wall and the neglected vault above the water spring The wall was reconstructed b" ,oOef Qerovni! #,oseph +cherounig$, the vault and ice cellar b" ,ane< 9bla! #,ohann 9bla!$ and Anton 2iuha #Anton Niucha$ This chronolog" of the construction wor! suggests that 1ishop Anton Aloj< Dolf perhaps did not demolish and rebuild the estate for the sa!e of greater econom" and modest", but because rebuilding was urgentl" re'uired due to the estate%s ver" poor condition despite constant repairs The drawing b" MatevO =angus ;5 #Aig >$ is from this 7renovation% period Although the drawing is neither signed nor dated, it can be dated to )5.-, when =angus was often at the Goriane Mansion, where ten princel" rooms were being painted and decorated It is not !nown whether his brother MatevO;8 wor!ed there, or his other brother ,ane<, to whom he ceded his painting and decorating trade >4 In an" case, he had a reason for visiting the mansion The construction wor! was finished b" the end of ,une )5.- >) The drawing shows the mansion with mountain scener" in the bac!ground, the forefront is occupied b" trees and greener", and the mansion and its garden are placed at the center of the composition as though in a medallion Its landscape allocation is reminiscent of Italian renaissance mansions and villas that dominate an entire area from an elevated position The ramp that connects the building with the garden is clearl" visible, as are the terraces articulating the garden%s la"out The scene is too distant to anal"<e in detail, but it ma!es it possible to evaluate the entire composition The drawing was most probabl" not commissioned, but created on the artists%s
;5

MatevO =angus: The princeEbishop%s mansion in Goriane, ca )5.-, pencil drawing, sheet from a s!etchboo!, Lational Galler" inv no G)34 ;8 MatevO =angus #)C8-/)5;;$ was a painter and portraitist, !nown in particular for his portraits and religious paintings, while less attention has been given to his drawings of places and landscapes 0is drawings have been addressed in detail onl" b" I<idor 2an!ar #)8;C& see more in +tes!a )8-;/)8.-, >)3/>)>& 2evc )88;, ).5/)3C& @o<man )88;R8>, )4./)4C$ >4 2evc )88;, )3) >) The receipt is dated ) ,ul" )5.- @eport on the costs of the repairs #note 3.$

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own initiative: apparentl" inspired b" an attractive motif In the natural framewor! of mountains and trees it sets up an interesting contrast between the natural and designed landscape, and in this sense emphasi<es the magnificent appearance of the residence, although the available literature states that it was much more modest after it was rebuilt 0owever, this is not confirmed b" =angus%s drawing 9n the contrar", it seems that the residence with its garden still dominated the environment The drawing proves that the painter, who is best !nown for his portraits and religious motifs, was a sensitive portra"er of nature and landscaped nature with a fine feeling for composition Lonetheless, the rebuilding did not solve the problems with the mansion once and for all In spite of the e(tensive wor! in 1ishop Anton Aloj< Dolf%s time, construction wor! continued in the mansion, outbuildings, and gardens 1" the last third of the nineteenth centur", the comple( had been photographed b" an anonimous photographer #Aig C$>- 0e was obviousl" primaril" interested in the building%s mass in the given landscape, intending to capture its entiret" 0e positioned himself in a diagonal line to the location of the building 0e thus captured its eastern section, a part of the small pleasure garden b" the building, and the turret at the corner of the garden facade Despite the fact that the building is surrounded b" trees partl" hiding it and therefore its details are not entirel" readable, the effect is a great one The spruces in front of the main faKade create a feeling of an orderl" environment, meanwhile the loo! of the garden we can onl" suspect The trees in front of the entrance facade prevent direct access to the building, in line with the spirit of the time The wa" the grass" circular flowerbeds are planted has a classicist, rigorous effect, unli!e the plantings in the immediate vicinit" of the building, which are much less formal The photograph proves that the environment of the residence was well designed and maintained ,ohann +ima%s boo! 6m #ebiete der Steiner./ahn mentions among the sights of Goriane 7the completel" walledEin garden of the episcopal mansion in Goriane%& >. indicating that the garden was well tended and designed =adislav 1enesch%s drawing of the residence >3 #Aig 5$ does not pa" an" attention to the garden A vignette depicts the garden facade of the mansion with si( low bushes in the compan" of leaf" trees The ramp leading from the building into the garden, is suggested, but without an" details The picture e(tends bottom left into the coat
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6hotographer un!nown: The princeEbishop%s mansion in Goriane, last third of the nineteenth centur", photograph, LM+ >. +ima )58), 58 >3 After =adislaus von 1enesch: Goriane Mansion, )58), ("lograph, LM+ The drawing was made as a model for +ima%s boo! #see note >.$ The whereabouts of 1enesch%s model is not !nown

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of arms of the diocese of =jubljana >; 2onsidering that +ima drew special attention to the garden in the te(t, and that 1enesch merel" indicated it, it ma" be assumed that 1enesch omitted the garden because of the print%s small format >> Around )844, the archiepiscopal mansion in Goriane was still the summer residence of the bishops of =jubljana and had a corresponding prestigious function The archiepiscopal mansion and its garden attracted the attention of the painter :onrad Grefe >C and the writer 6eter @adics, and the" included it in their album entitled Alt.Krain @adics mentions that at the time the mansion was the summer residence of Anton 1onaventura ,egli, 6rinceE1ishop of =jubljana, still embellished with its famous pleasure and flower gardens
>5

The drawing>8

#Aig 8$ is an ordinar" artwor! that does not show an" of the building%s or garden%s 'ualities The residence is viewed from across the wall at the eastern side of the garden, which gives the impression of a bos!et It loo!s as if the building is enclosed b" various trees, but there is no trace of the flower section that must have been b" the main building, perhaps at its western side This overview concludes with a picture postcardC4 #Aig )4$ in which the photographer wanted to emphasi<e the building%s noble character 0e chose to photograph the building%s garden facade, and included part of the garden and the wooden pavilion C) The scarp constructed at the time of 1ishop Dolf creates a marvelous contrast with the rococo ornamented facade Together the" create an impression of fortifications in contrast with the residential building The trees creating a dense thic!et to the right of the postcard hint at an *nglish garden, but I doubt that it reall" e(isted Documents mainl" attest to fruit trees, planted in the bottom section of the garden In spite of the obvious neglect, the comple( has a noble character
>;

+ee more on the arms of the diocese of =jubljana as the" were determined b" *mperor Arederic! III in )3>) in ?olja! -44C, )4)/)48 >> Dithout the arms, the panorama measures ;5 S >5 mm >C 2onrad Grefe #)5-./)84C$ was a painter and engraver The central themes of his wor! were landscapes and architecture 0e was taught b" the painters ,osef MTUmer and Aran< +teinfeld Grefe headed the old 7GrVne Insel% art societ" 0e mostl" painted watercolors, and in the print techni'ues e(celled in etchings 2oncerning our countr", his important contributions are for the album Alt.Krain, which combines panoramas of 2arniolan places and cultural monuments, and the publication of which he financed himself The te(ts were written b" 6eter @adics #see more about Grefe in @adics )8))& a letter b" Ana 0ottner Grefe on the artist, dated ). 9ctober )8)4, is in the 6rint 2abinet of the LM+& Dur<bach )5;8, .-)/.-.$ >5 6eter @adics, +chloss GTrtschach in 9ber!rain, Alt.Krain, fasc 8, sheet .., >8 I am familiar with the drawing onl" from a reproduction b" ,ohannes 1eier published in Alt.Krain, Aig .. C4 Goriane, picture postcard, )4; S );4 mm, privatel" owned b" Nmago Tani& I sincerel" than! Nmago Tani for the courtes" of lending me the postcard C) The garden pavilion was in the same place from at least the time of 1ishop Attems because it was included in his panorama b" ?alentin Met<inger #see note -C$

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2onclusion The various images of the garden in Goriane, created in different historical periods, do not necessaril" present its actual contemporar" appearance, but rather its s"mbolic meaning The first were made b" ?alvasor and the basic 'uestion about them is whether the" reflect his personal attitude to the motif, or the wishes and impressions of the owners or occupants The first drawing certainl" shows that the building was placed in the forefront It dominates the drawing and the natural environs in which it is placed Its location below the ruins of the old castle, but still high above the settlement and with a marvelous view of the valle", undoubtedl" e(presses a lord%s condescending attitude to his subjects The two turrets decorating the facade / visible onl" from the settlement / are a further reference to the owner%s inaccessibilit" Aor a more statel" appearance, the" should have been placed at the entrance facade and not the garden one, which was usuall" intended for rela(ation and pleasant sociali<ing in select compan" The drawing that served as the model for the print has a different effect: it emphasi<es the role of the mansion as a comfortable, lu(urious residence with a garden that is merel" suggested It is therefore e(ecuted with greater accurac" in the print 1ecause details were added b" the engraver, it ma" be assumed that the structure of the garden as presented is not real, but copied after models of the !ind found in the wor!s of ,oseph Aurttenbach and others C- The composition creates a false feeling that the entire estate is on level terrain, and not on a slope as it is in realit" A clear presentation of the whole and creating a noble atmosphere were the important factors in this case I cannot agree with the findings of +teleC. and @eispC3 that ?alvasor dedicated his attention e(clusivel" to the central building, while suggesting the landscape and the immediate surroundings of the mansion with just a few stro!es and written notes,C; since his s!etchboo! drawings reveal that he paid more attention to these elements, including the garden in Goriane 0is written notes on the plants
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?alvasor%s librar" contains several boo!s with such illustrations, which the artists used as models for la"outs that were not detailed: ,oannes 1aptista Aerrairius, Hesperides2 si"e De malorum aureorum cultura et usu , @ome )>3>& ,oseph Aurttenbach the *lder, Architectura pri"ata2 das ist grndliche /eschreibung % % % zu gutem Ende ist gebrach*orden, Augsburg )>3)& ,oseph Aurttenbach the *lder, Architectura recreationis2 das ist7 % % % uffzurichten seyen, Augsburg )>34& ,oseph Aurttenbach the *lder, 8e*es 6tinerarium 6taliae, Ilm )>-C& ,oseph Aurttenbach the Wounger, #arten.$all+stlins.#eb+u2 Augsburg )>>C& ?incen<o +camo<<i, 9:6dea della architettura uni"ersale, +ult<bach )>C5& 8eues 0odelbuch "on unterschiedlicher Art der /lumen und anderer genehten 0-del nach iziger 0anier2 allen 9iebhaerinnen dieser Kunst zum besten "orgestellt , Luremberg )>>>& and man" others C. +tele )8-5, 3C/38 C3 @eisp )85., ).8 C; 2omparing the print with the drawing, I full" agree with them

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demonstrate that he was also interested in the garden and its plants, even though he did not draw them Dhat is usuall" missing in ?alvasor%s pictures is a garden sculpture In certain of his other illustrations the" can be seen here and there #e g , the stone vases in the garden of +otes!a 2astle$, and it can be inferred that the reason was not ?alvasor%s superficialit", but the actual absence of garden sculptures in 2arniola in the seventeenth centur" In this centur", there were no lu(urious garden la"outs in 2arniola "et, unli!e in 2arinthia, where the practice was alread" better developed, as is obvious from the vedutas in ?alvasor%s topograph" of 2arinthia C> 0e often personall" transferred the drawings to the copper plates and in this case it ma" be assumed that changes were not merel" the fruit of his imagination, but of his actual memor" In some cases he entrusted the transfer to engravers, who completed the pictures based on !nown models Dhere a laidEout garden e(isted, he included it in the composition 0e certainl" !new how to represent the selected mansions, castles, and residences from the most attractive angle ?alentin Met<inger%s depiction is notabl" documentar" The tradition of such illustrations goes bac! to the earl" seventeenth centur", when Giusto Itens made ten lunettes with villas and gardens of the Medici In both cases the building is set in the top central part of the composition, with the garden stretching out below it and filling out nearl" the entire area of the painting The standpoint is elevated in order to gain a better view of the splendor of the garden The staffage figures of gardeners draw attention to the efforts re'uired to maintain such beaut" and the" are in accord with the new conception of Alora: starting with Aerrari%s wor!, she is no longer a na!ed, frivolous co'uette, but a personification of purit", depicted with covered breasts and gardening tools CC Three images date from the nineteenth centur" =angus%s drawing perhaps unintentionall" bestowed a sovereign character on the mansion and its garden The s!etch" drawing leads the observer to imagine a much more lu(urious garden than the suggested terraced one The print based on 1enesch%s drawing is much more ascetic, without an" indication of prestige 1ecause of an unsuitable point of view, the building is left without prominence It gives the impression of a modest mansion on a plain, placed in the shelter of trees 9nl" the coat of arms of the Diocese of =jubljana suggests that it is a building of some importance

C> CC

,ohann Deichard ?alvasor: (opographia archiducatus Carinthiae modernae, 1ogenGper! )>5) +ee more in Tongiorgi Tomasi -444, i(/((v& Nalum 2ardon Aerrari -444, (liii/lv

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The photographs offer different comprehension options 1ecause the" are more 7objective% the" tend to be viewed with greater credibilit", although the angle chosen allows for some degree of manipulation 1oth photographers primaril" wanted to represent the building, standing robustl" amidst greener", and one can onl" guess what the garden was li!e In the older photograph, #Aig C$ the greater distance shows more of the building%s environment and it is well tended This proves that the residence was still in use and that it was therefore necessar" to maintain a pleasant and beautiful environment The photographer of the model for the picture postcard #Aig )4$ paid more attention to the building and the garden wall, thus revealing more accuratel" its intimate space: the architecture is still charming because of its highE'ualit" details, and the garden is slightl" reminiscent of a thic!et 2oming to the end of this stroll through the histor" and images of the archiepiscopal mansion and garden in Goriane, the conclusion ma" well be that the wa" it was depicted depended on the image%s purpose In earlier periods #the seventeenth and eighteenth centuries$, in addition to realism there are elements of glorification or e(altation& later, the attitude is more intimate and direct The change in the attitude of the artists occurred in the period when the 2hurch%s attitude to the episcopal residence in Goriane changed 1ased on the available documents, it can be concluded that maintaining the building and its environs was a huge financial burden for the contemporar" bishops The mansion preserved its function as a summer residence, but its prestigious nature was no longer of great importance @egardless of their veracit" or lac! of it, all of these pictures are valuable sources for stud" because the" offer insight into the value s"stems of the periods in which the" were created

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