Seite - 204 - in Die Repräsentation der Habsburg-Lothringischen Dynastie in Musik, visuellen Medien und Architektur - 1618–1918

204 Sektion II: Herrscher, Staat, Nation 43 Rihard Jakopič, “Slovenija se klanja Ljubljani”, alegorijska slika gospodične Ivane Kobilce [“Slovenia bows to Ljubljana”, an allegoric painting from Miss Ivana Kobilca], in: Ljubljanski zvon [Ljubljana‘s bell] 4 (1903), 252–253. 44 Vrhunc, Ivana (as note 33), 149. 45 Hribar, Moji (as note 4), 118. 46 Hribar, Moji (as note 4), 118. 47 See her works for the Kronprinzenwerk Die österreichisch-ungarische Monarchie in Wort und Bild, edited between 1886 and 1902. The 22nd volume on Bosnia and Herzegovina was published in 1901. 48 Erin M. Dusza, Epic Significance. Placing Alphonse Mucha’s Czech Art in the Context of Pan- Slavism and Czech Nationalism, Thesis Georgia State University, Atlanta 2012, 34. 49 The fact that Austria paid for the province of Bosnia and Herzegovina to have its own four-story building at the world’s fair of 1900 in Paris reveals the desire to showcase the annexation of this province in a positive light. The pavilion placed between the Neo-Baroque Austrian pavilion and the Neo-Gothic Hungarian pavilion was planned by George Heinrich Moser. His assignment was to ensure that the pavilion highlighted Austria’s efforts at “civilizing” the country and at developing the economic revenue from the province’s goods, insinuating that the Austrians saw the Balkans as populated by an inferior culture that needed to be ‘saved’ by a superior people; Dusza, Epic Signifi- cance (as note 48), 36. 50 Today, only few portraits of members of the Habsburg family are known in Slovenia (cf. Crown Prince Charles with His Wife and Members of the Carniolan Nobility, by Carl Piezner, 1917, National Museum of Slovenia). It is not known whether it was common use in today’s Slovenia to depict rulers as individuals and not as a member of their dynasty. Anyway, the economical situation did not allow any kind of larger masterpieces, all images of emperors were made by foreign painters working in Slovenia or art works were brought to Slovenia from Vienna. Later on, in the year 1908, people from Ljubljana erected a sculpture of Franz Joseph I by Svetoslav Peruzzi (1881–1936) in the Miklošič park in front of the Courthouse. This monument as well as all other drafts for this sculpture which were submitted by competing artists depicted the emperor as an individual figure glorified by a wo- man with Ljubljana’s coat of arms in her hands. This individualized image of the emperor was always a representation of the Habsburg dynasty, too, even though it was never actually depicted.