Izvorni znanstveni članak
https://doi.org/10.17018/portal.2025.13
Colours in the Interior of the Zagreb Cathedral: a Contribution to Understanding its Decoration through the Centuries
Krasanka Majer Jurišić
orcid.org/0000-0003-3157-9230
; Hrvatski restauratorski zavod, Služba za nepokretnu baštinu
Matija Deak
orcid.org/0009-0008-4897-5831
; Hrvatski restauratorski zavod, Odjel za zidno slikarstvo i mozaik
Kristina Krulić
; Hrvatski restauratorski zavod, Odjel za zidno slikarstvo i mozaik
Sažetak
This paper presents the results of recent conservation and restoration research conducted by the Croatian Conservation Institute because historical colours and paintings of the Cathedral of the Assumption of the Blessed Virgin Mary and Saints Stephen and Ladislaus in Zagreb had not been previously examined in detail. Colour, as an expressive element, contributes to creating the atmosphere of a space and its aesthetics while also indicating various changes over time. Our understanding of the role of colour in the sacred architecture of continental Croatia during the Middle Ages is modest, whereas there is significantly more knowledge about later layers of paint, particularly those from the 19th century, which are more frequently mentioned in scholarly literature.
The decoration of a cathedral is certainly more lavish and imposing than that of other sacred buildings. If its construction began in the Middle Ages, it is rare to be able to fully recreate the visual impression of its interior from earlier phases. Many traces have been erased due to structural changes, and the ones that remain provide only a partial insight into certain characteristics. This refers not only to sacred furnishings, numerous altars, sculptures, paintings, objects made of precious materials, and carved elements, but also to the overall impression, which is significantly influenced not only by the architectural forms, but also by the colour of its final finish. Colour, along with volume, light and even sound, is an essential factor in perceiving and understanding space, and the chosen colour palette undoubtedly affects the overall aesthetic experience.
This text offers insights into this aspect of the former appearance of the Zagreb cathedral: the colours and paintings on its walls and vaults. Since these surfaces have been ‘cleaned’ several times, and paint layers and plaster been partially or entirely removed, collecting data and reconstructing possible colour schemes was particularly challenging. This difficulty was further compounded by the cathedral’s vast size, which required repeated verification of findings across different locations on walls, pillars and vaults. Very few areas contained all identified historical layers of colouring, but missing layers were often confirmed in nearby areas.
The cathedral’s interior was initially stone with wall paintings and inscriptions. Later, the walls and stone elements were yellow-gold, and the vault fields were plastered and whitewashed. In the 18th century, the entire interior was amber-coloured, with the rich Baroque furnishings enhancing the overall impression. This was followed by pale light-red paint, likely applied during Bishop Vrhovac’s tenure, then light green after 1830, and light grey during the interventions initiated by Bishop Haulik. After the 1880 earthquake, Herman Bollé commissioned Johannes Clausen and his workshop to decorate the entire cathedral with a combination of simple vegetal and geometric stencil motifs, gilding, monochromatic wall colouring imitating stone blocks, and starry vaults, most of which were replicated during the restoration in the 1980s.
A wide range of conservation and restoration methods was used to determine the stratigraphy and types of layers on the ashlar masonry that forms the cathedral, as well as the plaster that covered the brick vaults and was partially documented on the walls. These findings complemented known historical data and enabled more accurate dating within specific periods. As a result, our understanding of the transformations the Zagreb cathedral has undergone through the centuries has been enriched, further expanding the complex mosaic of elements that make it exceptional – not only in a liturgical sense, but also in terms of artistic and aesthetic achievement.
Ključne riječi
Zagreb; cathedral; Middle Ages; Baroque; 19th century; 20th century; decoration; colours; wall paintings; pigments; conservation and restoration research
Hrčak ID:
342556
URI
Datum izdavanja:
15.12.2025.
Posjeta: 322 *