Page - 172 - in Die Repräsentation der Habsburg-Lothringischen Dynastie in Musik, visuellen Medien und Architektur - 1618–1918

172 Sektion II: Herrscher, Staat, Nation the peoples and religions in the Monarchy”.35 The image of the Emperor himself was present in public36, but his figure was not present in the public space. It was only after the death of Minister Kállay that a few imperial busts appeared; these were in fact kept in military and institutional spheres. One of these was raised in a military camp in Bijeljina on the Emperor’s name day in 1903 (Fig. 2).37 During the ceremonious unveiling of this “beautifully built life-size bust”, it could be heard that the garrison of Bijeljina had decided to raise a monument which needed to be “an eternal witness of how a soldier is loyal and how much he loves his Emperor, his king and his homeland”.38 This ceremony was accompanied by the inevitable narrative on the togetherness of the people “despite the differences in religion and a variety of nationalities”, since it was attended not only by the military, but also by the civilian population of Bijeljina.39 Another bust of the Emperor was mounted in the Konak, the residence of the provincial governor of Bosnia and Herzegovina in Sarajevo. At the request of the new governor Eugen von Albori, it was donated by the Emperor and delivered to Sarajevo to be set into the Konak’s so-called ceremonial hall in 1904.40 Cast in Vienna’s royal foundry in accordance with the existing model of the academic sculptor Anton Brenek41, this bronze bust was a unique example of art in Bosnia and Herzegovina, which was supposed not only to “arouse patriotic and Figure 2: Postcard showing the portrait bust of the Emperor Franz Joseph I unveiled on 9 October 1903 in the military camp in Bijeljina.