metoda kemperl

The architect Candido Zulliani (1712–1769) lived and worked in Ljubljana for at least
thirty-five years. He came to Ljubljana from Trieste in 1731 and was first mentioned
in archival sources at the end of 1734. The following year he married and acquired
civil rights, the title of master builder, and a craftsman’s licence. He received commissions
from city authorities and also worked as the Carniolan provincial master builder
from 1761 to 1764. Despite his many years of work, very few of his more ambitious
works are mentioned in archival resources. In fact, most of the documents known so
far refer to rather utilitarian works. According to archival documents, Zulliani drew
up plans for the new church of St. John the Baptist in Trnovo (1738–1753) and led its
construction, rebuilt the pilgrimage church of St. Lucy in Skaručna (1744–1746), and
made the plans for and led the construction of the pilgrimage church of the monastery
in Velesovo (1766–1769). However, the majority of such works are merely attributed to
him; among them is the chapterhouse at the address Ciril-Metodov trg 6 (1746), which
is presented in this article as Zulliani’s work documented in archival records. Stonemasonry
elements on the building were made by the stonemason Karl Bombasi from
Ljubljana according to Zulliani’s plans. The main facades of four houses in Ljubljana,
namely the houses at Ciril-Metodov trg 21 (the Bidlmon Hotel, 1742), Gosposka ulica
4 (1741), Novi trg 2, and Breg 12, which were previously attributed to either Zulliani or
Johann Georg Schmidt, are also attributed to Candido Zulliani on the basis of stylistic
analysis. All these houses have the same facade design concept and similar portal
variations as the chapterhouse. It is these portals that show Zulliani to have been an
innovative architect who never repeated

Umetnost lahko vpliva na nas ter na naš odnos do sebe, do drugega in do sveta,
v katerem živimo. Zato lahko s pomočjo umetniških del spodbujamo tudi empatijo.
Ta je eden izmed temeljev človeštva in je pomembna veščina, ki se je človek uči že od
zgodnjega otroštva. Z vživljanjem v umetniško delo lahko dosežemo pozitiven vpliv
na etični razvoj posameznika. Za to je posebej primerna sodobna umetnost, saj je
močno povezana z življenjem in se ukvarja s problemi, ki se dogajajo tukaj in zdaj.
Teme sodobne umetnosti, kot so trajnostni razvoj, globalizacija, odnos do drugega,
identiteta, migracija ali kulturne izmenjave, se povezujejo tudi s konceptom aktivnega
državljanstva. V šoli lahko tematiziranje nasilja v umetnosti in privzgajanje empatije
združimo z medpredmetnim povezovanjem. V prispevku bomo zato z analizo učnih
načrtov ugotavljali, katere predmete bi bilo treba povezati, da bi ta cilj dosegli, ter kateri
cilji in vsebine se ustrezno dopolnjujejo. Z umetnostnozgodovinsko metodologijo
(ikonografska, ikonološka oziroma kontekstualna analiza) pa bomo raziskali, katera
sodobna slovenska umetniška dela z upodobitvijo nasilja so primerna za uporabo v
vzgojno-izobraževalnem procesu.

PARISH CHURCH IN LJUTOMER AND EARLY BAROQUE SACRAL ARCHITECTURE IN PRLEKIJA The article presents the Baroque architectural phase of the parish church in Ljutomer, the nave of which was constructed between 1688 and 1690 by the very prolific master mason from Leibniz (Lipnica), Jakob Schmerleib. The church has a three-nave structure, with its origins in Late Gothic architecture. The master mason was probably sent to Ljutomer by the owner of the seigniory Branek, Thomas Ignaz Maurer von Mauerburg, a member of the highest elite in Graz. Although the church is not the first Early Baroque sacral building in Prlekija, it boasts the most complex architecture amidst the predominantly single-nave, multi-bay counterparts. Early Baroque sacral architecture in the area emerged at a relatively late stage, about 1674 (churches in Cezanjevci, Velika Nedelja, and Stara Gora at Sveti Jurij ob Ščavnici). By the end of the seventeenth century, nearly all of the important sacral buildings in Prlekija were rebuilt or newly constructed in the Baroque style.

The article discusses the portals on the main façade of Zois Mansion on Breg 22 in Ljubljana. The building, characterized by an extensive architectural history and now combining six houses, was given its current appearance around 1805. The main portal, originating from the first Zois corner house, was transferred to the current location about 1765, when the house was merged with the next-door Erberg Mansion. Probably built in the workshop of the master stone carver Luka Mislej between 1710 and 1727, the portal represents a high-quality and original work that stands out from the rest of Ljubljana's contemporary production. Other portals use the same form. The first, the fourth, and the sixth from the left were built about 1805, during the last expansion of the mansion, probably forming part of the opus of the architect Ignac Prager. The second, the third, and the seventh portals date to 1832, formally imitating the former three.

Bishop Jakob Maksimilijan Stepišnik. He negotiated plans for new constructions, renovations, and liturgical furnishings already in the first year of his appointment. However, after five years, only a few of these plans were realized. Pečnik was a strict adherent to the brick Neo-Gothic architecture, whereas the diocese was probably reluctant to have churches built in this style. Besides, his projects were financially very demanding. The same architectural style was used in the plans drawn in 1868 for the only church in Slovenia known to have been built according to Pečnik's design, the Church of St. Nicholas at Šmiklavž pri Gornjem Gradu, during the construction of which the most explicit neo-Gothic accents were toned down or obscured.

The article discusses the Baroque parish house in Velika Nedelja, the most luxurious and archivally documented parish house in Slovenia. The discussion focuses on its Baroque rebuilding and extension as well as plans for it. The 4x8 axial single-storey architecture is one of the four buildings that form the urban part of the settlement standing to the west of the church and the castle. The plans for it were drawn by the most important late-Baroque architect from Lower Styria, Jožef Hoffer. The parish house was built between 1749 and 1751, and soon after that (still in the eighteenth century), most rooms on the first floor were painted. Hoffer's preserved designs reinforce the attributions made regarding other secular buildings that are attributed to him, such as Hoffer's house in Maribor, the mansions Gornja Bedekovčina, Zgornja Polskava, and the Jarenina manor.

The research discusses the date, authorship, and commissioning of Baroque house Breg 20 in Ljubljana. Based on archival materials and literature, we have reconstructed its ownership in the eighteenth century, when the house was predominantly owned by the Gasparini family. During that period, the building was expanded by incorporating the neighbouring Codelli house and the balcony hall on the second floor was graced with Jožef Jelovšek's paintings. The main entrance portal was constructed about 1743, when Gasparini was raised to the rank of nobility. It was probably designed by the architect Giovanni Fusconi, who worked in Trieste, but, at least between 1726 and 1747, also paid several visits to Ljubljana.

Bolj kot kiparjeva osebna poetika v teh kipih stopi v ospredje dejstvo, da sta umetnik pri produkciji in gledalec pri recepciji ujeta v mrežo tradicionalnih kulturnih predstavitev. Tako na Bratuso lahko gledamo kot na kakovostnega nadaljevalca fantasticne smeri v umetnosti, katere predstavniki so anonimni avtorji fantazijskih bitij na srednjeveskih fasadah katedral in drolerij na marginah srednjeveskih rokopisov, Hieronimus Bosch, Johann Heinrich Fussli, Francisco de Goya in drugi, ki so se bolj ali manj na hudomusen nacin ukvarjali z nicevostjo cloveskega življenja.

This paper examines how knowledge ofartworks is transmitted to visitors through text interpretation in art museums. The theoretical concepts called upon belong to the field of museum education. The research adopts a qualitative methodology, taking the Strossmayer Gallery of Old Masters in Zagreb as a case study. This museum produced an online guide for ageneral audience, which is supposed to be used in the gallery while viewing and examining artworks. Another source of knowledge of the artworks is the gallery catalogue in the format of a printed book, presenting masterpieces from the collection. The analytical approach consists of a close and comparative discourse analysis of the two gallery interpretive materials. We found that the didactic conceptualization of museum interpretation is based on a differentiated approach to knowledge transmission. A relationship exists between knowledge production and dissemination on the one hand, and the attitude toward a visitor on the other. Sim...

Mirko Bratusa je inavguracijsko razstavo v naziv rednega profesorja za kiparstvo naslovil U-KREPA-TA. Tako že sam naslov razkrije osnovni koncept razstave, ki temelji na postavitvi kipov v pare. S tem se koncept navezuje na strukturalisticno teorijo o binarni opoziciji. Topogledno Bratusa tematizira temeljna vprasanja clovekovega prebivanja, saj naj bi po Levi-Straussu vsaka kultura organizirala pogled na svet prek parov nasprotij. Nekoc so nam koncept nasprotij, na primer življenje – smrt, lepo – grdo, nasilje – mir, sebicnost – altruizem, razlagali miti in nam s tem pomagali razložiti svet, v katerem živimo. Mirko Bratusa pa nam nasprotij ne razlaga, ampak ponuja, da razmislimo o konceptu nasprotij, zlasti pa o tem, kako sta posamezna elementa znotraj para odvisna drug od drugega.

This paper discusses and analyses wall paintings in St. Andrew's Parish Church at Zgornji Leskovec. The church was built in 1779 (according to the date on the portal) and probably painted shortly thereafter. This is confirmed by the style of painting and by a mention in a written source. The fresco paintings have not yet been presented, analysed or assessed. This paper explains their iconography. Based on a critical stylistic analysis, the frescoes are attributed to Anton Archer, a painter from Zagreb who worked with the Styrian painter Anton Lerchinger. The studied wall paintings are the first work of art in Slovenia to be attributed to Anton Archer. Furthermore, they show that the painter worked completely independently as early as 1780, i.e. before Anton Lerchinger's death. This paper could be a good starting point for further attributions of Late Baroque paintings in the Zagorje region.

Sodobna umetnost se v primerjavi s predhodno moderno umetnostjo razlikuje v tem, da se spet vraca k družbi in vsakdanjemu življenju ter da tematizira aktualne težave, s katerimi se srecuje clovek tukaj in zdaj. Zelo pogosta tema je trajnostni razvoj in s tem povezane vsebine, kot so: okoljevarstvo, vrednote, odnos do drugega itn. To so hkrati teme, ki sodijo v koncept aktivnega državljanstva, zato razumevanje sodobne umetnosti pravzaprav zahteva aktivno državljanstvo. Se posebej to velja za relacijsko umetnost, ki od gledalca zahteva aktivno participacijo v umetnini. V prispevku se sprasujem, kako uresnicevati povezanost sodobne umetnosti in državljanske vzgoje v osnovni soli. Sodobna pedagoska doktrina zelo spodbuja medpredmetno povezovanje, zato sem analizirala ucna nacrta predmetov likovna vzgoja ter državljanska in domovinska vzgoja ter etika in ugotovila, da sta s tega vidika težko povezljiva. Na odsotnost sodobne umetnosti v ucnem nacrtu za likovno vzgojo se sicer že dlje casa...

Publikacija z naslovom Izobraževalni turizem: priprava ucitelja na obisk umetnostnega muzeja v okviru solske ekskurzije je rezultat petmesecnega projekta na Pedagoski fakulte ti Univerze v Ljubljani , ki je – v sodelovanju zasebnim gospodarskim podjetjem (Akadems ko potovalno agencijo Ars longo d.o.o.) in z javno kulturno ustanovo (Moderno galerijo) – potekal v okviru javnega razpisa Projektno delo z gospodarstvom in negospodarstvom v lokalnem in regionalnem okolju – Po kreativni poti do znanja 2016/2017 . Namen raz pisa je bil krepiti sodelovanje in povezovanje visokosolskega sistema z okoljem (gospodarstvom in/ali negospodarstvom) ter izvajati modele odprtega in prožnega prehajanja med izobraževanjem in gospodarstvom ter družbenim okoljem. Projekt sta sofinancirala Ministrstvo za izobraževanje, znanost in sport in Evropska unija iz Evropskega socialnega sklada.

• Unlike the previous phenomenon of modern art, contemporary art strives to return to society and everyday life, while thematising the current issues that the individual faces here and now. One of its more frequent topics is that of sustainable development, and the accompanying issues of environment, values, relations to others, etc. All such topics are part of the concept of active citizenship, which is why understanding contemporary art calls for active citizenship. This particularly holds true for relational art, which demands active participation on the part of the viewer. This paper inquires into the possibilities of the connection of contemporary art and citizenship education in elementary schools. Contemporary pedagogic doctrine highly encourages cross-curricular teaching; therefore, I have focused my analysis on the curricula of the subjects of Art Education, and Citizenship and Patriotic Education and Ethics, determining that (from this perspective) their link is quite troublesome. The absence of contemporary art from the curriculum of Art Education has been criticised on many occasions, but the problem of its curriculum seems to be of a conceptual nature. Only by a more intense inter-institutional link between schools and contemporary art galleries and museums can the common goals of art education and citizenship education be realised. This paper will, therefore, strive to show potential cross curricular links in content on three examples of participatory practices (Proletarians of All Countries, Beggar Robot and EU/Others), while warning (from the pedagogic perspective) against the often neglected fact that contemporary art is experienced here and now.

• One of the important positions of the last curricular reform in Slovenia, which included systemic issues of education (White Paper on Education , 2011) and curricula for compulsory subjects in primary school, is the fact that Slovenia has been integrated into Europe, and thus education should also include the development of core European com-petences. One such competence is cultural awareness and expression, which until now has been an issue more in the context of cultural policies than school policies in Slovenia. The purpose of the present article is to critically analyse the curricular reform of art education (i.e., visual art education), through which, in terms of certain components of the competence of cultural awareness and expression, it is foreseen that the student will gain a knowledge of art, develop an ability to experience works of art and develop a creative attitude towards art and heritage. Because the starting point and goal of curricular change is the curriculum , our analysis is derived from curriculum theories, and not from the art theories and pedagogical theories that have predominantly framed previous attempts at curriculum analysis. Critical consideration of the curricular reform of art education in primary school in terms of certain components of the competence of cultural awareness and expression was undertaken by comparing curricula in the field of aesthetic education. We compared art education with music education and literature within the Slovenian language curriculum. Qualitative analysis showed that, despite the reform, the curriculum for arts education does not re-alise selected components of the competence of cultural awareness and expression, largely due to the curriculum's conceptual structure. Art education is centred principally on art-making activities, with an obvious neglect of appreciation. The integration of arts subjects at school, as

Eden najbolj talentiranih in najbolj vplivnih raziskovalcev človekovega (predvsem otrokovega) spoznavnega razvoja Rus Lev S. Vigotski (1896–1934) je večkrat prestopal meje psihologije, vede, v katero ga največkrat uvrščajo, saj je bil zelo široko izobražen. Svojo pot na področju psihološkega raziskovanja je začel s širokim znanjem s področij zgodovine, fi lozofi je, umetnosti in jezikov. Ker se je ukvarjal z vplivom socialnega razreda na razvoj otrok, je Stalin dve leti po njegovi smrt prepovedal njegova dela in dal izbrisati njegovo ime iz znanstvenih revij. Šele leta 1956 so v Sovjetski zvezi spet dovolili objavljanje njegovih del, v zahodni Evropi in ZDA pa od sedemdesetih let 20. stoletja, ko so njegova ključna dela počasi začeli prevajati, zanimanje za njegovo teorijo strmo narašča (Marjanovič Umek, 2010; Gaber, 2010). Vigotski je leta 1925 doktoriral iz psihologije umetnosti in istega leta napisal knjigo Psihologija umetnosti, ki je bila v Sovjetski zvezi natisnjena šele leta 1968, na Zahodu pa je prvič izšla leta 1971. V delu je avtor prepoznal potencial umetnosti, ki lahko po njegovem mnenju spremeni posameznikovo vedênje in bogati izkušnje. V poglavju, v katerem se je spraševal o povezavi umetnosti in življenja, je zapisal, da se je na umetnost že od nekdaj gledalo tudi kot na del in sredstvo vzgoje in izobraževanja oziroma del dolgoročnega spreminjanja našega vedênja in obnašanja (Vigotski, 1975, 319). Kako se odzivamo na estetsko doživetje, so precej kasneje začeli raziskovati zlasti angleški raziskovalci na področju vzgoje in izobraževanja. Ugotovili so, da lahko estetsko doživetje in odziv nanj otroka pripelje do tega, da začne ponovno ocenjevati in premišljevati o svojem odnosu, vrednotah in pričakovanjih ter se celo sooča s svojimi predsodki, zato je umetnost lahko moralno vzgojno-izobraževalna (Pike, 2002). Morala in vrednote pa so teme, ki sodijo v koncept državljanske vzgoje oziroma v koncept aktivnega državljanstva. P. Hills-Potter je dokazala, da lahko z uporabo umetniških del pri otrocih spodbujamo sodelovanje v družbi in privzgajamo

Today’s church in Gonars, which was built between 1970 and 1972, has a considerably older history because this
is at least the fourth church at this site. This church belonged to the most widespread type of religious architecture
in Friuli in the second third of the eighteenth century, which was based on works by the Venetian architect Andrea
Palladio from the end of the sixteenth century, and they received their fi nal form with the works of Venetian architects
from the end of the seventeenth century and beginning of the eighteenth century, such as Domenico Rossi, Giorgio
Massari, Francesco Comin, and Antonio Gaspari. The plan examined here is the fi rst known plan by the architect
Lorenzo Martinuzzi the younger, and certain other religious structures in Friuli have been attributed to him based on
this work. This paper also draws attention to the fact that the churches of this type from this time and in this area are
very similar, and that it is diffi cult to properly attribute them based only on a formal analysis.

L’odierna chiesa di Gonars, costruita tra gli anni 1970 e 1972, ha una storia molto più antica. Si tratta infatti del
quarto edifi cio costruito sul sito. Il contributo esamina la fase tardobarocca della chiesa di Gonars, dove oggi si trova
l’edifi cio sacrale risalente agli anni 1970 – 1972. La chiesa rappresenta il tipo di edifi cio sacro più diffuso nel Friuli
negli ultimi trent’anni del XVIII secolo, basato sulle opere dell’architetto veneziano Andrea Palladio dalla fi ne del XVI
secolo e formatosi defi nitivamente con le opere degli architetti veneziani dalla fi ne del XVII secolo e inizio del XVIII
secolo, quali Domenico Rossi, Francesco Comin, Giorgio Massari e Antonio Gaspari. Il progetto qui esaminato è il
primo progetto noto dell’architetto Lorenzo Martinuzzi il giovane e conformemente a ciò gli si attribuisce anche alcuni
altri edifi ci sacri nel Friuli. Il contributo inoltre segnala che le chiese di questo tipo in questo periodo e in questa
zona sono molto simili l’una all’altra e sono diffi cilmente attribuibili solo tramite un’analisi formale.

Tone Kralj is considered one of the most important Slovenian painters and versatile artists. He created a vast opus
with the full range of visual art genres, though many of his works were destroyed during the 2nd World War.
The paper presents and examines his painting Vojni invalid (Disabled War Veteran), which has not yet been analysed,
and was painted in 1940 in Venice. The painting depicts a blind man playing the accordion on the Ponte dell`
Accademia Bridge to make a living. In the painting, Kralj used formal elements (colours, colour contrasts, composition)
to create a gloomy atmosphere, thus capturing the general social atmosphere of that time, the personal tragedy
of the disabled man, and the author’s own feelings in the city to which he supposedly fl ed to get away from the fascist
police. The latter took notice of him because of the paintings he started in the Saint Lucy Church in the town of Most
na Soci. The man’s blindness is thus also connected to the decorations of this church, which the painter completed
during his time in Venice. Namely, Saint Lucy, a martyr who was a victim of eyegouging,
is also the patron saint of
the blind and visuallyimpaired.
By depicting a disabled blind war veteran, Kralj showed that the Fascist regime did injustice not only to minorities
which were considered inferior, but also to its own citizens who did not meet the standards of physical strength and
perfection set by the Fascist State before the 2nd World War. Religious themes and personal tragedy are intertwined
in the painting in a sophisticated way. Behind the explicitly expressed issue of human suffering represented by the
disabled blind war veteran, religious mysticism is hidden on
the one hand, the shelter offered by St. Lucy, and on
the other, the absence of St. Mary of Health.

Nell’articolo è presentata ed analizzata l’opera L’invalido di guerra, dipinta da Tone Kralj nel 1940 a Venezia. Sul
dipinto è rappresento un non vedente che sul Ponte dell`Accademia guadagna il proprio pane quotidiano suonando
l’armonica. Con mezzi fi gurativi Kralj nel dipinto crea un’atmosfera cupa, riproducendo in tal modo l’atmosfera generale
della società di quei tempi, la tragedia personale dell’invalido di guerra, ma anche le sue sensazioni nella città
dove si sarebbe rifugiato dalla polizia fascista. La cecità dell’uomo si lega inoltre all’arredo della chiesa di S. Lucia a
Santa Lucia d’Isonzo (Most na Soci), terminata dal pittore a Venezia. Con il dipinto Kralj mostrò come il fascismo non
commetteva un torto solo alle minoranze, considerate inferiori, ma anche ai propri cittadini che non erano conformi
all’idea sulla forza fi sica e sulla perfezione, sviluppata prima della seconda guerra mondiale dallo Stato fascista. In un
modo fi ne si intrecciano la tematica religiosa e la tragedia umana personale: da un lato il riparo di S. Lucia, dall’altro
l’assenza della Madonna della Salute.

V clanku je predstavljena in analizirana slika Vojni invalid, ki jo je Tone Kralj naslikal leta 1940 v Benetkah. Slika
kaže slepca, ki si na Ponte dell` Accademia služi kruh z igranjem na harmoniko. Z likovnimi sredstvi je Kralj v sliki
ustvaril tesnobno vzdušje, s cimer je kazal splošno družbeno ozracje tistega casa, osebno tragedijo vojnega invalida
pa tudi svoje obcutke v mestu, kamor naj bi se umaknil pred fašisticno policijo. Slepota moža pa se navezuje tudi na
opremo cerkve sv. Lucije v Mostu na Soci, ki jo je slikar dokoncal v Benetkah. S sliko je Kralj pokazal, kako fašizem
ne dela krivice samo manjšinam, ki se mu zdijo manjvredne, ampak tudi lastnim državljanom, ki ne ustrezajo ideji o
telesni moci in popolnosti, ki jo je pred 2. svetovno vojno razvila fašisticna država. Na prefi njen nacin se prepletata
religiozna tematika in osebna cloveška tragedija: po eni strani zavetje sv. Lucije in po drugi strani odsotnost sv. Marije
Zdravja.

This article examines the history of the construction of St. Barbara’s Church in Idrija, initiated by the then mine
manager due to the fact that the only other church in the settlement (the Church of St. Trinity) was Protestant. The
foundation stone for the new St. Barbara’s Church was consecrated by the Bishop of Ljubljana, Tomaž Hren, on 10
August, 1622. The previously unpublished plan from 1750 shows the condition of St. Barbara’s Church before the
renovation, as built in the 17th century. The building displays a different style than St. Trinity,, erected in the same
period following an initiative of the miners and built by the local master builder Knez in the post-gothic style. In 1750,
the citizens of Idrija wanted to enlarge St. Barbara’s Church because of its poor condition and the small size of the
Church of St. Trinity. The first architect to be contacted was Johann Georg Schmidt from Ljubljana. He was sent the
plan of the existing building so he could draw a plan that included renovation as well as the construction of arches
and lateral chapels. Because of high costs, another quotation was requested and the costs were reduced by a third.
Finally, a third option was chosen: the walls were strengthened and arches built but no enlargement was made. The
style of the church was advanced not only for the 17th century. The plan includes a detailed depiction of the bell
tower that was added to the church in 1741. It displays all the characteristics of typical Baroque style and can be
defined as one of the first sacral buildings in Carniola built under the influence of this style. It can be assumed that the
plan was drawn by Johann Georg Schmidt. Unfortunately, the church suffered extensive damage in a 1945 bombing
and was demolished ten years later.

Con l’aiuto di fonti d’archivio conservati nell’Archivio di Stato austriaco (Österreichisches Staatsarchiv),
nell’Archivio storico di Ljubljana, sezione di Idrija e nell’Archivio parrocchiale di Idrija l’autrice illustra la storia della
costruzione della chiesa di St.Barbara, fortemente danneggiata durante i bombardamenti del 1945 e demolita nel
1950. La costruzione della chiesa era iniziata nel 1622 per ordine dell’amministratore della miniera di Idrija Annibale
Bottoni poiché la località aveva soltanto una chiesetta in legno. Sulla costruzione finanziata dall’imperatore
Ferdinando II vigilò un esperto costruttore. Contemporaneamente i minatori avviarono la costruzione della chiesa
consacrata alla SS. Trinità affidata al locale mastro carpentiere Anton Knez. Dal progetto del 1750, nato nel desiderio
di far riferimento alla chiesa di St. Barbara, emergono chiare le differenze di stile dei due edifici. La modernità della
chiesa di St.Barbara non è limitata al periodo della sua costruzione. Nel 1714 venne costruito il campanile, uno dei
primi monumenti dell’architettura sacra della Carniola influenzato dal barocco viennese, probabilmente opera di
Johann Georg Schmidt.

V članku je s pomočjo arhivskih virov, hranjenih v Avstrijskem državnem arhivu (Österreichisches Staatsarchiv),
Zgodovinskem arhivu Ljubljana, enota Idrija in Župnijskem arhivu Idrija prikazana stavbna zgodovina cerkve sv. Barbare
v Idriji, ki je bila leta 1945 v bombnem napadu močno poškodovana in leta 1950 podrta. Cerkev je leta 1622
začel graditi upravitelj idrijskega rudnika Annibale Bottoni, saj je imel kraj do takrat le leseno cerkev. Gradnjo, ki jo
je finančno podprl cesar Ferdinand II., je vodil v Idrijo povabljeni stavbenik. Istočasno so rudarji začeli zidati cerkev
sv. Trojice, ki so jo zaupali lokalnemu mojstru Knezu. Načrt iz leta 1750, ki je nastal v želji po prezidavi Barbarine
cerkve, dobro kaže slogovne razlike obeh stavb. Cerkev sv. Barbare pa ni bila stilno napredna le ob postavitvi. Leta
1741 je dobila zvonik, ki je bil eden prvih sakralnih spomenikov na Kranjskem, sezidan pod vplivom dunajskega
baroka, njegov avtor pa je najverjetneje Johann Georg Schmidt.