Seite - 335 - in Die Repräsentation der Habsburg-Lothringischen Dynastie in Musik, visuellen Medien und Architektur - 1618–1918

Representation of the Habsburgs in Croatian Historical Lands 335 tower, just above the doorway arch (Fig. 4).18 As for the proportions of the tower and the gate, it is difficult to estimate them on the basis of these subjective visual representations, since the watercolour reproduction of the painting showing Charles VI’s arrival in Rijeka differs even from the original on which it was modelled, for ex- ample, in depicting the portal as segment-based, inscribed in an almost square rustic structure. Taking into account Valvasor’s print and lacking the archival data, Rijeka’s histo- rian Giovanni Kobler dated the tower by estimation to the period after 1689 in his Memorie per la storia della liburnica città di Fiume (1896). Kobler also quoted the protocol of 1781 mentioning a stone epigraph from 1654 on the military victories of the Austrian army, to be found on the Sea Gate. However, he presumed that the present version had resulted from alterations following an earthquake, between 1753 and 1801, ‘skipping’ the intermediary phase of the tower and the Sea Gate, namely that of 1728, shown in the aforementioned painting with the panoramic view of the city and the harbour.19 Besides the Sea Gate, Habsburg coats of arms in various formats were to be found in several localities in Rijeka. Some of them are preserved today at the city’s Maritime and History Museum. Figure 4: Janez Vajkard Valvasor, View of Rijeka/Statt S. Veit am pflaum uulgo fiume oder rieka, 1689.