Zagrebački franjevci i ikonografija nakon Tridentskoga sabora (1545. – 1563.) - Cvetnić, Sanja (Array, 2010)
Summary Prolific spiritual and cultural activity of the Franciscans in Zagreb, with its beginnings reaching back to the times of St. Francis himself, experienced a special impetus during the two baroque centuries. In the era of recovery from the 16th century crisis, which caused the entire Croatia quail in suspense of Ottoman raids, the events in their Kaptol monastery witness a certain cultural revival slowly taking up the city on the very margin of Habsburg Empire. By the mid-17th century, conditions were made for the foundation of autonomous Custodia, soon to be Province of St. Ladislav, with the Zagreb monastery as its centre. During the reconstructions of the building as well as redecorations of the old gothic church, some of the prominent examples of baroque art in Zagreb emerged. In addition to the artistic quality, they are distinguished by their interesting iconographic synthesis of local traditions and artistic solutions deriving from eminent art centres such as Rome or Munich. Thus, in the St. Francis' chapel – an unique 17th and 18th century ambience within the monastery – we meet St Francis as a protagonist of the first artistic display of his legendary visit to Zagreb, as well as on the altar painting, the composition of which refers to a sculpture made by Carlo Monaldi, placed in the sanctuary of St Peters in Rome in 1725. It is exactly this proud emphasis on a specific tradition, alongside to the strong consciousness of affiliation to the universal Church legacy, which is one of the significant characteristics of visual arts reflecting the statements of the Council of Trent (1545 – 1563), and an important factor in our cultural legacy.