Page - 178 - in Die Repräsentation der Habsburg-Lothringischen Dynastie in Musik, visuellen Medien und Architektur - 1618–1918

178 Sektion II: Herrscher, Staat, Nation of the war, full figural statuary in public spaces, which had been almost completely absent during the preceding period, became the primary means of commemorating victims, foremost the crown prince, but also the fallen soldiers who had fought for the Emperor and their homeland. Their construction was predominantly encouraged by the country’s district offices and clerical circles and, judging by the contributions, wider social structures also participated in their erection. The majority of monuments raised during the war were in fact ‘monuments in steel’ (Schwert, Wehrschild, Wehrmann in Eisen) the function of which, apart from the commemorative one, had a humanitarian character. Made in accordance with the Austrian and German models72, they consisted of wooden monuments that served as a substructure for riveting nails, which were then added by the populace. The money that was earned by selling these nails was gathered for widows and orphans of fallen soldiers. Although they were of temporary nature, these monuments were a form of expressing ‘patriotic duty’ which the loyal common people should show in the name of their compatriots on the battlefield, but also in the name of the Emperor for whom they fought. Exactly for these reasons, most of them were raised just before 18 Au- gust, when the birthday of Franz Joseph was celebrated and on 2 December when the Emperor’s rule was celebrated.73 The commemoration of the fallen soldiers, therefore, was inevitably followed by a narrative on the loyalty to the Emperor and the dynasty, even when the Habsburgs were not explicitly present in the monuments. The most significant monuments raised in the form of ‘Bosnian warriors’ were to be found in Banja Luka and in Sarajevo.74 The abovementioned patriotism and the memory of the fallen Bosnian and Her- zegovinian soldiers started permeating even those monuments that were raised in honour of the Emperor himself, showing him in full figure for the first time. This concerns two statues in particular, one raised in Sanski Most in 1915 (Fig. 6) and one in Livno in 191675, again on the initiative of the city and district leaders. According to the press, both monuments were raised thanks to the effort of the citizens and vil- lagers, “regardless of religion and nation”, so as to show “loyalty and connection” to their ruler under the spectre of which the country had achieved progress, and under whose command it was now fighting.76 Since the Viennese sculptor Theodor Maria Khuen made both of them77, these statues are in formal and stylistic terms equivalent to another monument he had created for the city of Klosterneuburg to commemorate the sixtieth anniversary of the Reign of Franz Joseph. Representations of the Emperor such as those in Klosterneuburg (1908) and Bad Vöslau (1913) in which Franz Joseph is shown wearing a field marshal’s gala uniform78 in order to emphasize a connection between the Monarch and the army, could have seemed modest, inexpressive and unpretentious, especially when compared to the other imperial monuments in Vi-