Pregledni rad
https://doi.org/10.17018/portal.2025.27
History of Historicism of the Zagreb Cathedral (19th–21st century)
Željka Čorak
; Institut za povijest umjetnosti (emerita)
Sažetak
The Zagreb cathedral was first mentioned in 1094, though both the cathedral and the city itself are likely older. Located on the frontier of the Western world, it has endured a turbulent history, suffering from wars, Tatar and Ottoman invasions, and fires. For nearly a thousand years, it has been repaired, modified, and adapted for defensive purposes. Despite these challenges, it has always reflected the high representational ambitions of its bishops. It has been both a fortress and a treasury. All its transformations shaped a unique form which was ultimately shattered in the 1880 earthquake at the beginning of an era that prioritized aesthetic idealism over historical truth.
The cathedral’s transformations were the result not only of historical circumstances but also of the intentions of its bishops. These ambitions were often memory-driven, and the cathedral itself embodies the history of historicisms. After the 1624 fire, which destroyed its Gothic and Renaissance furnishings, efforts were made to restore its lost splendour. During the 17th century, Bishop Vinković added Romanesque elements to the Gothic-Baroque portal. Between 1792 and 1794, Bishop Maksimilijan Vrhovac (1752–1827) commissioned a detailed description of the cathedral and its inventory, resulting in the first known floor plan of the cathedral, drawn by surveyor Franjo Klobučarić. The bishop also demolished the gallery in front of the sanctuary, demonstrating a fundamentally Gothic aspiration for perspective. Bishop Aleksandar Alagović (1760–1837) renovated the sanctuary and placed a painting by Johann Ziegler, inspired by Titian’s Assumption of the Virgin, but the painting was framed by a Gothic pointed arch. The choir was also supported by pointed arches. His hybrid historicism was decisively continued through the adoption of full-fledged Neo-Gothicism by Cardinal Juraj Haulik (1788–1869), who commissioned sculptures by Anselm Sickinger, stained-glass windows by Ainmiller, von Hess and Kaulbach, an organ from the Walcker company, and chandeliers by Karl Rösner. Haulik’s ‘organic Neo-Gothicism’ still belonged to a phase of continuity and respect for the existing structure without significant structural changes.
Cardinal Josip Mihalović (1814–1891), with the support of Bishop J.J. Strossmayer and Minister of Religious Affairs and Education Isidor Kršnjavi, demonstrated a complete commitment to restoration and a willingness to sacrifice historical truth in favour of new aesthetic ideals. He commissioned Friedrich von Schmidt, the most distinguished architect and restorer of sacred buildings in the Austro-Hungarian Empire, to redesign the cathedral.
Schmidt proposed a plan to reintroduce Gothicism in line with the theories of Viollet-le-Duc and based on the cathedral’s original phases. He entrusted the development and execution of the project to Herman Bollé, his student and collaborator. However, between Schmidt’s initial drafts and the commencement of work, a devastating earthquake struck, prompting Bollé to modify the plans independently. The primary focus of the restoration was structural reinforcement. The heights of the sanctuary and nave were equalized, a new roof was installed, partially bricked-up Gothic windows were reopened, and two towers were constructed (replacing a single tower that had functioned as a defensive keep), on the basis of the assumption that such towers had existed in the 14th century. A series of Neo-Gothic elements was introduced to the exterior. Inside, Bollé cleared the space and treated it as a Neo-Gothic Gesamtkunstwerk (total work of art). Despite these interventions, the medieval structure remained intact.
In the 20th century, restoration efforts focused on repairing the deteriorating exterior, including an intriguing attempt to incorporate modern sculpture in harmony with the cathedral’s context. A comprehensive restoration of the cathedral began after the 2020 earthquake.
Ključne riječi
Zagreb cathedral; sacristy; painting; altar; wooden support; damage; air humidity; preventive conservation; storage rooms
Hrčak ID:
342775
URI
Datum izdavanja:
15.12.2025.
Posjeta: 436 *