Izvorni znanstveni članak
https://doi.org/10.17018/portal.2025.21
Metal Fixtures of the Zagreb Cathedral: Context, Makers, Decorative Solutions and Inspirations
Martina Wolff Zubović
orcid.org/0000-0001-9621-342X
; Hrvatski restauratorski zavod, Odjel za konzervatorsku dokumentaciju pokretne baštine
Sažetak
This article analyses the metal fixtures of the cathedral’s interior, primarily made of wrought iron, examining the context of their creation, their makers, applied decorative solutions, and their inspirations. The fixtures were made during the restoration following the 1880 earthquake, at a time when the prevailing aesthetic of historicist Gesamtkunstwerk required stylistic harmonization of the entire building and the creation of fixtures based on the architect’s designs.
The demands of the time also called for craftsmen with a high degree of skill, of which there were few in Zagreb in the early 1880s. This prompted Isidor Kršnjavi and Herman Bollé to establish the Museum of Arts and Crafts and subsequently the Royal Craft School, modelled on the examples of Vienna, London and Paris.
Since the first generation of students (seven locksmiths and carpenters, four stonemasons and two sculptors) graduated from the Craft School in 1886, and the cathedral was opened to the public in 1885, it is evident that Bollé relied on locksmiths who already possessed the skills necessary to execute his designs. Also important was their willingness to improve their skills and pass their knowledge on to younger generations. This important, pioneering role belonged to Antun Mesić and Gjuro Hammel. As Bollé’s collaborators, they are recorded on the lower part of the cathedral window above the altar of Sts Peter and Paul. Along with Gjuro Burić, a master locksmith and long-time teacher of locksmithing at the Craft School, they collaborated with Bollé on numerous other projects, as well as working at the Craft School.
The magazine Obrtnik (The Craftsman), in issues published from 1884 to 1886, repeatedly highlighted their work (especially that of Mesić) as examples of high achievements of domestic artistic locksmithing. On the basis of a review of archival materials, this article emphasizes Antun Mesić’s significant contribution to the making of metal fixtures for the cathedral.
A basic ‘vocabulary’ of motifs was defined in an attempt to determine more precisely the characteristic stylistic features of the wrought-iron fixtures. This facilitated the identification of connections with works created within the broader circle of the Craft School, as well as with contemporary works of imperial and royal locksmith Albert Milde, a representative of Viennese artistic locksmithing. Milde produced wrought-iron elements based on the designs of leading architects, including Heinrich von Ferstel and Friedrich von Schmidt.
Comparing the work of Antun Mesić for the cathedral with that of Albert Milde, we notice a similar repertoire of decorative motifs, in both cases skilfully executed. We can conclude that several intertwined events – the arrival of Bollé, establishment and activity of the Craft School, and restoration of the cathedral – resulted in a noticeable advancement of domestic artistic locksmithing, and ultimately its international recognition.
Ključne riječi
Cathedral; historicism; artistic locksmithing; wrought iron; vocabulary of motifs; Craft School; Herman Bollé; Antun Mesić; Gjuro (Đuro) Hammel (Hamel); Albert Milde
Hrčak ID:
342763
URI
Datum izdavanja:
15.12.2025.
Posjeta: 330 *