Seite - 344 - in Die Repräsentation der Habsburg-Lothringischen Dynastie in Musik, visuellen Medien und Architektur - 1618–1918

344 Sektion IV: Zeremonielle Räume und die „Öffentlichkeiten“ 17 Margita Cvijetinović-Starac, Dolazak cara Karla VI. (as note 16), 94–95. 18 Matejčić’s conclusion is that the same large coat of arms stands above the city gate even today, only complemented with three emblems, the central one bearing the above-quoted inscription expressing devotion to Leopold I and Joseph I. The lateral, smaller emblems – the one to the left being the coat of arms of Baron Terzi and the one to the right the coat of arms of the city of Rijeka – are not to be considered as relevant, since the Habsburg coats of arms and emblems seem to be of a monolithic structure. Likewise, the crown connecting the two heads of the eagle and the elements crowning the lateral coats of arms share the same decorative motif. 19 Giovanni Kobler, Memorie per la storia della Liburnica città di Fiume, Collana degli Atti del Cen- tro di richerche storiche, N 3, Rovigno 1978, Vol. 2, 40. 20 Mirjana Repanić-Braun, Self-Promotion and Representation of the Habsburg Dynasty in the Peri- pheral Regions of the Austrian Empire, in: Identity, Power and Representation. Nationalisms in Art, Materials d’investigacio, 2, ACAF/ART LLIBRES, Barcelona 2014, 43, 44. 21 Julije Kempf, Požega. Zemljopisne bilješke iz okoline i prilozi za povijest slobodnog i kraljevskog grada Požege i Požeške županije, Požega 1910, 345, 347. 22 Filip Potrebica, Požega i Požeština od srednjeg vijeka do konca II. Svjetskog rata, in: Kulturna baština Požege i Požeštine, Natalija Čerti (ed.), Požega 2004, 66–68. Požega made good use of the obtained privileges and soon evolved into an important centre of Slavonia, excelling in crafts, establishing guilds, developing manufacture production, stronger administration, and schools, and excelling in cultural and intellectual life. 23 Potrebica, Požega i Požeština (as note 22), 66. 24 In 1754, Bishop Thauszy was appointed by the Diet as a secret counsellor, and three years later he became the Ban’s deputy. Intending to establish a parish and in accordance with the decree of Maria Theresa on building a new parish church, he took over the Požega parish from the Franciscans in 1753. On these events and their context, see Kempf, Požega (as note 21), 533–539; on the church, see Katarina Horvat-Levaj, Katedrala sv. Terezije u Požegi, in: Radovi Instituta za povijest umjetno- sti, 28 (2004), 208–231. 25 Kempf, Požega (as note 21), 540. 26 Vlasta Zajec, Štukomramorni oltari u sjevernoj Hrvatskoj, in: Radovi Instituta za povijest umjetno- sti, 35 (2011), 177. 27 On the representations of the Habsburgs as Hungarian kings, see Friedrich Polleross, Austriacus Hungariae Rex. Zur Darstellung der Habsburger als ungarische Könige in der frühneuzeitlichen Graphik, in: Orsolya Bubryák (Ed.), “Ez világ, mint egy kert …” Tanulmányok Galavics Géza tis- zteletére, Budapest 2010, 63–78; on various aspects of Maria Theresa’s representational iconography as a ruler, see an exceptional study by Werner Telesko, Maria Theresia. Ein europäischer Mythos, Vienna-Cologne-Weimar 2012. 28 It is curious that former interpreters of the high altar have not observed that it stands under the crown of St Stephen, or have not highlighted the context of the baldachin crown; Potrebica (as note 22) mentions it only as “a crown”, Kempf (as note 21) does not mention it at all, and Zajec sees it only as “decorative motif of the spread drapery or gathered at the top by a crown” or as “a large crown topped by the crucifix” – Vlasta Zajec, Oltari i skulptura baroknog i neostilskog razddoblja, in: Kulturna baština Požege i Požeštine, Požega 2004, 209; Zajec, Štukomramorni oltari (as note 26), 181. 29 Allergnädigst privilegierte Anzeigen, Sämmtlich: Kaiserlich Königlichen Erbländern, herausgegeben von einer Gesellschaft erster Jahrgang, XI Stück, Wien, den 24. Julii, 1771, 86: „Kaspar Sambach […] dieser fleißige Künstler hat ferner noch solche Andächtige Vorstellungen aus Hohes ersuchen