DOI Heft:
Nr. 2
DOI Artikel:Artykuły
DOI Artikel:Kemperl, Metoda: Villa de Seppi at Hrastnik and the Painters Eduard Lebiedzki and Constanze von Breuning: Unknown Paintings
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.71008#0348
342
Metoda Kemperl
11. Constanze von Breuning, Supraporta with the Allegory of arts, 1894,
Villa de Seppi, Hrastnik. Foto M. Kemperl
a female personification accompanied by a putto and attributes. All women have bare
shoulders and are dressed in white blouses and long skirts; some of them also have bodi-
ces of different colours. Their long hair of different colour is tied back. All the putti are
completely naked. The women are personifications of the activities or crafts Emma de
Seppi and her extended family were connected with.
The painting above the door leading from the staircase to the grand hall depicts a wo-
man spinning wool. Behind her there is a spinning wheel, and to the left a rooster. To the
right there is a young boy tending a rose growing in a pot. There is a beehive depicted on
the far right of the painting. Thus, the woman could be allegory of diligence. Although
Emma de Seppi herself did not engage in agricultural chores, she had a decorative garden
in which she might have grown roses.
In the same wall, namely, the south one, there is another door leading to the so-called
Small Hall. The painting above the door depicts a woman in profile, sitting and offering
a piece of bread to a young boy. Behind the woman there are some farm products, and
behind the putto a tree branch with autumn coloured leaves. Thus the woman could be
a personification of Caritas (Love; she is offering bread to the boy) or of autumn (the
autumn tree branch, farm produce). However, if we connect allegory with other paintings,
it most probably represents a personification of agriculture. Perhaps the depicted scene is
connected with the efforts of her brother Georg Gossleth to facilitate the development and
expansion of agriculture at Hrastnik and its vicinity. In fact, it is known that Georg was one
of the initiators of an agricultural exhibition at Trbovlje organized in 1887 to promote
agriculture.103 Based on the theme of the painting, one could conclude that he also played
an important role in agriculture later.
There are two doors in the south wall, leading to the foyer. The painting above the first
depicts a woman with a laurel wreath on her head, a pencil in her right hand, and an open
book in her left. To the left there is a seated putto with a pair of compasses and a protractor
in his hand. There are a palette and some brushes to the left of the putto. To the right of the
(IVANCIC LEBAR, Hrastnik, p. 62). Iconography was not discussed in the topography; it is only stated that the pain-
tings depict the owner's life. (RESMAN et al., Upravna enota, p. 105.)
103 Slovenski gospodar, pp. 546, 547.
Metoda Kemperl
11. Constanze von Breuning, Supraporta with the Allegory of arts, 1894,
Villa de Seppi, Hrastnik. Foto M. Kemperl
a female personification accompanied by a putto and attributes. All women have bare
shoulders and are dressed in white blouses and long skirts; some of them also have bodi-
ces of different colours. Their long hair of different colour is tied back. All the putti are
completely naked. The women are personifications of the activities or crafts Emma de
Seppi and her extended family were connected with.
The painting above the door leading from the staircase to the grand hall depicts a wo-
man spinning wool. Behind her there is a spinning wheel, and to the left a rooster. To the
right there is a young boy tending a rose growing in a pot. There is a beehive depicted on
the far right of the painting. Thus, the woman could be allegory of diligence. Although
Emma de Seppi herself did not engage in agricultural chores, she had a decorative garden
in which she might have grown roses.
In the same wall, namely, the south one, there is another door leading to the so-called
Small Hall. The painting above the door depicts a woman in profile, sitting and offering
a piece of bread to a young boy. Behind the woman there are some farm products, and
behind the putto a tree branch with autumn coloured leaves. Thus the woman could be
a personification of Caritas (Love; she is offering bread to the boy) or of autumn (the
autumn tree branch, farm produce). However, if we connect allegory with other paintings,
it most probably represents a personification of agriculture. Perhaps the depicted scene is
connected with the efforts of her brother Georg Gossleth to facilitate the development and
expansion of agriculture at Hrastnik and its vicinity. In fact, it is known that Georg was one
of the initiators of an agricultural exhibition at Trbovlje organized in 1887 to promote
agriculture.103 Based on the theme of the painting, one could conclude that he also played
an important role in agriculture later.
There are two doors in the south wall, leading to the foyer. The painting above the first
depicts a woman with a laurel wreath on her head, a pencil in her right hand, and an open
book in her left. To the left there is a seated putto with a pair of compasses and a protractor
in his hand. There are a palette and some brushes to the left of the putto. To the right of the
(IVANCIC LEBAR, Hrastnik, p. 62). Iconography was not discussed in the topography; it is only stated that the pain-
tings depict the owner's life. (RESMAN et al., Upravna enota, p. 105.)
103 Slovenski gospodar, pp. 546, 547.