DOI article:
Hoffmann, Annette; Murovec, Barbara [Contr.]: Josef Strzygowski and Avguštin Stegenšek Some Remarks on their Jerusalem Studies
DOI Page / Citation link:https://doi.org/10.11588/diglit.73804#0071
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1. Stegensek's drawing of a reconstruction of the Constantinian Holy Sepulchre Church in Jerusalem, Regional Archives
Maribor. Phot. Karin Smid
a folder on Jerusalem and a folder on the Church of the
Holy Sepulchre with several plans of the Holy Sepulchre
and its surroundings,29 as well as numerous tracing papers
on which he drew various reconstructed ground plans of
the Church [Fig. i].30 There are also maps of Jerusalem, for
instance those from the Baedecker guidebook,31 tracings
of the city walls, and collage papers with a wide variety of
drawn image comparisons. Stegensek collected, analysed
and prepared the material for his publication for almost
two decades; however, he published almost nothing be-
fore his early death in 1920.
An insight into the early phase (before his visit to the
Holy Land) of Stegensek's Jerusalem studies is given by
his little-known article on Jerusalems church buildings
of the fourth century in pictorial representations. It was
published in the Oriens Christianus in 1911,32 the same
Avgustin Stegensek], Zbornik za umetnostno zgodovino, n.s. 3,
1955, pp. 197-224, here pp. 205-206.
29 Among others there is for instance a groundplan of the Holy Se-
pulchre Church published by Conrad Schick and Carl Mom-
mert in 1898 as well as that published by August Heisenberg in
his monograph: A. Heisenberg, Grabeskirche und Apostelkirche,
s.p. (as in note 18).
30 Regional Archives Maribor, SI_PAM/1624, Stegensek's legacy.
With the exception of his article in Oriens Christianus, Stegensek's
research has remained in manuscript and some of the archival
material was lost during the Second World War or later.
31 K. Baedecker, Palestina und Syrien, Leipzig 1880.
32 A. Stegensek, 'Die Kirchenbauten Jerusalems im vierten Jahr-
hundert in bildlicher Darstellung', Oriens Christianus, n.s. 1, 1911,
pp. 272-285.
year as Strzygowski's The Origins of Christian Art. In it,
Stegensek also addressed the question of the reconstruc-
tion of the Constantinian building of the Church of the
Holy Sepulchre. However, unlike his teacher Strzygowski,
his approach was not based on a comparative examina-
tion of stylistic features in the Church, but - presumably
still under the impression of Wilpert and his Roman ex-
periences - he focused on its architectural representation
on a Roman sarcophagus.
The sarcophagus, a column sarcophagus with the rep-
resentation of the Traditio Legis on the front, shows on its
small left side the denial of Peter, and on the right side the
healings of the blind and the bleeding woman.33 All scenes
are set against architectural backgrounds. In his article,
Stegensek compared the depicted buildings in the reliefs
with descriptions of Eusebius and Aetheria (Egeria), and
assumed that they can be identified as the Constantinian
Nea lerusalim on Golgotha, the Martyrium, the Chapel
Ad Crucem and the Anastasis. To visualize the complex
grouping of the buildings, he also drew a ground plan of
it.34 He furthermore believed in the existence of an inde-
pendent domed building above the Golgotha rock,35 a the-
sis that was rejected by Baumstark in the same volume.36
Nevertheless, the sarcophagus became an important
object in Stegensek's later research, with which he tried to
33 On this sarcophagus see also H.-G. Severin, 'Ostromische Plastik
unter Valens und Theodosius I', Jahrbuch der Berliner Museen, 12,
1970, pp. 211-252, at pp. 243-247, fig. 22.
34 A. Stegensek, 'Die Kirchenbauten Jerusalems', p. 277 (as in note 32).
35 Ibidem, p. 280.
36 A. Baumstark, 'Besprechungen', p. 352 (as in note 23).
1. Stegensek's drawing of a reconstruction of the Constantinian Holy Sepulchre Church in Jerusalem, Regional Archives
Maribor. Phot. Karin Smid
a folder on Jerusalem and a folder on the Church of the
Holy Sepulchre with several plans of the Holy Sepulchre
and its surroundings,29 as well as numerous tracing papers
on which he drew various reconstructed ground plans of
the Church [Fig. i].30 There are also maps of Jerusalem, for
instance those from the Baedecker guidebook,31 tracings
of the city walls, and collage papers with a wide variety of
drawn image comparisons. Stegensek collected, analysed
and prepared the material for his publication for almost
two decades; however, he published almost nothing be-
fore his early death in 1920.
An insight into the early phase (before his visit to the
Holy Land) of Stegensek's Jerusalem studies is given by
his little-known article on Jerusalems church buildings
of the fourth century in pictorial representations. It was
published in the Oriens Christianus in 1911,32 the same
Avgustin Stegensek], Zbornik za umetnostno zgodovino, n.s. 3,
1955, pp. 197-224, here pp. 205-206.
29 Among others there is for instance a groundplan of the Holy Se-
pulchre Church published by Conrad Schick and Carl Mom-
mert in 1898 as well as that published by August Heisenberg in
his monograph: A. Heisenberg, Grabeskirche und Apostelkirche,
s.p. (as in note 18).
30 Regional Archives Maribor, SI_PAM/1624, Stegensek's legacy.
With the exception of his article in Oriens Christianus, Stegensek's
research has remained in manuscript and some of the archival
material was lost during the Second World War or later.
31 K. Baedecker, Palestina und Syrien, Leipzig 1880.
32 A. Stegensek, 'Die Kirchenbauten Jerusalems im vierten Jahr-
hundert in bildlicher Darstellung', Oriens Christianus, n.s. 1, 1911,
pp. 272-285.
year as Strzygowski's The Origins of Christian Art. In it,
Stegensek also addressed the question of the reconstruc-
tion of the Constantinian building of the Church of the
Holy Sepulchre. However, unlike his teacher Strzygowski,
his approach was not based on a comparative examina-
tion of stylistic features in the Church, but - presumably
still under the impression of Wilpert and his Roman ex-
periences - he focused on its architectural representation
on a Roman sarcophagus.
The sarcophagus, a column sarcophagus with the rep-
resentation of the Traditio Legis on the front, shows on its
small left side the denial of Peter, and on the right side the
healings of the blind and the bleeding woman.33 All scenes
are set against architectural backgrounds. In his article,
Stegensek compared the depicted buildings in the reliefs
with descriptions of Eusebius and Aetheria (Egeria), and
assumed that they can be identified as the Constantinian
Nea lerusalim on Golgotha, the Martyrium, the Chapel
Ad Crucem and the Anastasis. To visualize the complex
grouping of the buildings, he also drew a ground plan of
it.34 He furthermore believed in the existence of an inde-
pendent domed building above the Golgotha rock,35 a the-
sis that was rejected by Baumstark in the same volume.36
Nevertheless, the sarcophagus became an important
object in Stegensek's later research, with which he tried to
33 On this sarcophagus see also H.-G. Severin, 'Ostromische Plastik
unter Valens und Theodosius I', Jahrbuch der Berliner Museen, 12,
1970, pp. 211-252, at pp. 243-247, fig. 22.
34 A. Stegensek, 'Die Kirchenbauten Jerusalems', p. 277 (as in note 32).
35 Ibidem, p. 280.
36 A. Baumstark, 'Besprechungen', p. 352 (as in note 23).