Seite - 195 - in Die Repräsentation der Habsburg-Lothringischen Dynastie in Musik, visuellen Medien und Architektur - 1618–1918

State and National Representation in the Case of Ljubljana’s Town Hall 195 of the commissioner’s political pro- gramme originated. Furthermore, the exterior of the building (the fate of which was lying entirely in the hands of those members of the city council who were depicted in the painting) should be presented. And the exterior of the building should thus be mirrored by the painting in the interior of the hall which became the painting’s home for the next couple of years. Consider- ing the preserved photographs, the Town Square remained completely surrounded by wooden beams, sup- port structures and rubble in the months following the earthquake. Yet Germ cleared the painting of any kind of dramatic scenery left after the natural disaster. He also refrained from depicting the neigh- bouring houses in their real architectural detail. Furthermore, the space itself looks more like a podium that is about to host a show. The event that takes place in the middle of the painting is accentuated by a crowd of people, curious spectators at the windows of surrounding houses, and by a couple of wooden support structures. The main focus is on the frontally-presented Emperor Franz Joseph I, who is greeted by the mayor Peter Grasselli (1841–1933), next to whom follows the line of other members of the Municipal Council.30 Some of them can be seen quietly discussing the event with each another, others are paying close attention to what is happening in the main scene and their eyes are following the movement of the Emperor, while the commissioner Ivan Hribar is the only one depicted gazing straight at the observer of the painting. His body movement invites the latter to recognize the political will and the changes that will follow this event. Figure 4: Julij Müller, His Majesty the Emperor Franz Joseph I in Ljubljana, photograph.