Kostel Nejsvětější Trojice v Drnholci

Bc. Petra Cvilinková

Bachelor's thesis

The Church Holy Trinity in Drnholec

Abstract:

Kostel Nejsvětější Trojice v Drnholci Náplní práce je souhrný popis vybraného díla a stručná charakteristika s životopisem tří umělců, kteří vtiskli podobu kostelu v Drnholci, zasvěcenému Nejsvětější Trojici. Kostel je dílem umělců, jejichž tvorba spadá do druhé poloviny 18. stol., do vrcholného barokního proudu na Moravě. Potkaly se zde tři významné postavy moravského baroka, které byly ve své době zárukou kvality. Všichni prošli důkladným vzděláním v zahraničí i doma, nasbírali inspiraci, kterou skloubily s domácí tradicí a i díky tomu patří k tomu nejkvalitnějšímu co tato doba dala. Architekt František Antonín Grimm(1710-1784)se inspiroval francouzskou stavební kulturou, kterou poznal přímo i teoreticky a právě své zaujetí francouzskými vlivy aplikoval v drnholeckém kostele. Stavba má racionální pojetí, zjednodušenou barokní bohatost a přehledně zorganizovaný celek s přísným racionálním dekorem. U oltářních pláten od Josefa Sterna(1716-1775) se můžeme přesvědčit jak zavádějící může být pozdější restaurování obrazů. Zejména u plátna z hlavního oltáře je zcela patrný pokles kvality díla, ale máme u něj možnost srovnání s dochovanou kresbou, která nese stopy původního Sternova koloristického záměru a tím obraz Nejsvětější Trojice rahabilitovat. Na boční oltáře znázornil Čtrnáct svatých pomocníků a Přijímání P.Marie s dušemi trpícími v očistci. U sochařské výzdoby nebylo zcela jednoznačné autorství. Oltářní retabla a výzdoba hlavního oltáře je připsána Ondřeji Schweiglovi(1735-1812). Sochařskou výzdobu dvou bočních oltářů zajistil Josef Reitter. Kostel a výzdoba, až na určité výjimky, do dnešních dnů neprodělali žádnou závažnou změnu, v podstatě máme neustále před očima dílo, které vzniklo ve druhé polovině 18. stol. a do dnešních dnů tak přetrvalo.

Abstract:

Annotation - Holy Trinity church in Drnholec The aim of the work is an overall description of the chosen work and its brief characteristics together with biographies of three artists, who imprinted the appearance to the new Holy Trinity church in Drhnohlec. The Holy Trinity church in Drnholec is a creation of artists, whose activity falls within the second half of the eighteenth century, the Late Baroque in Moravia. Three significant characters of the Moravian baroque met here, being a guarantee to the top quality. All of them came from a strong academic background abroad as well as in our country, gathered inspiration and could smelt it with the inland tradition and thanks to this their work belongs to the top quality being given by that era. Thanks to preserved written sources, sketches and notes, we can compare. In architecture, one can be surprised by the difference between the original drafts and a finished erection. New ideas had to be postponed and František Antonín Grimm (1710-1784) conceded a more traditional construction of the portal. Although the church was not built exactly according to the architect’s idea, we know that even then, new thoughts and ideas were born in minds of the artists, which were not easy carry through. Grimm was inspired by the French structural tradition, well known to him directly as well as theoretically, and it was his passion for the French architecture, which was applied in the Drnholec church. The building shows a rational approach, simplified baroque richness and well arranged complex with a strict rational ornamentation. The shrine paintings by Josef Stern (1716-1775) can certify how misguiding a later restoration can be. Namely the main altar painting, an obvious decrease in quality of the work can be seen, as we can compare a surviving sketch, with no trace of Stern’s original colourist plot. Thanks to the preserved sketch we can actually rehabilitate the painting of Holy Trinity and realise that originally, it was created with a thought of the top quality. In this case, the sketches also helped an unambiguous identification and validation of authorship, where these paintings were accredited to a different author. On the side of the altar, the artist depicted the Fourteen Saint Helpers and Communion of Virgin Mary with souls suffering in the Purgatory . As for the sculptural ornamentation, the authorship was not unambiguous. The sources and literature differ in names of the sculptors. The pieces are very similar by means of stylistics, even though a more elaborate analysis they can be distinguished qualitatively. The main altar and altar side décor and ornamentation is accredited to Ondřej Schweigl (1735–1812), who was given large commissions from rich churches, but was able to satisfy even wishes of smaller parish country churches, which did not dispose of large leverage. The sculptural ornamentation of the side altars was provided by Josef Reitter. Collaboration of these three personalities is not a mere coincidence. The artists knew and respected each other. In Schweigel and Stern’s case, a closer relation is in concern without any doubt as Stern was best man at O. Schweigl’s wedding. These friendly relations projected even to the spheres of work, as can be seen in the case of Drnholec. The church and ornamentation, up to certain exemptions, did not undergo any significant change, essentially, we can face a work which originated in the second half of the 18th century and has survived unchanged up to these days.

Keywords

autor/author, Cvilinková Petra téma/theme, Kostel Nejsvětější Trojice v Drnholci/Holy Trinity church in Drnholec vedoucí práce/under the direction, prof. PhDr. Lubomír Slavíček, CSc.

Language used: Czech

Date on which the thesis was submitted / produced: 12. 6. 2007

Thesis defence

• Date of defence: 5. 6. 2007
• Supervisor: prof. PhDr. Lubomír Slavíček, CSc.

Masaryk University

Faculty of Arts

Bachelor programme / field:
Humanities / History of Arts