Freska norca v župnijski cerkvi na Mirni v Sloveniji : portret, gledališka maska ali metafora?
Marin, Marko, 1930-2015
The fresco featuring the image of a fool, which was discovered in 1965 in the parish church of St. John the Baptist in Mirna, Slovenia, is an interesting element of Slovenian cultural heritage. ...However, it has even greater value as a document of early theatre history in Slovenia. It dates from the beginning of the 16th century, a period from which little historical record of theatre activity in Slovenia exist. Our analyisis of the origins of this fresco, its artistic attributes and and its significance for theatre history led us to three conclusions: Portrait: The image of the fool in the 16th century fresco in the church of St. John the Baptist in Mirna is a portrait, or a self-portrait, of the painter that decorated the vaults above the entrances leading to the side chapels in the nave. The manner of portraying draws on the style of the "Croation group", which originated in Dalmatia and acquired autonomous features when it spread to Slovenia. They are mainly determined by the class and environment of the painter, in this case probably by his relation to the Ghallov aristocratic family from Carniola. Theatre mask: The image bears some traits characteristic of a theatre mask representing the character of the fool that originated in the Mediterranean region during the Dalmatian Renaissance and was later spread across Europe by Hans Sachs, taking on various meanings and forms. Its main feature is the shape of the cap with long ears and bells at their ends. The theatre mask portrayed points to theatre activity, acting or music performance. Metaphor: A pecularity of this image is the twisted horn growing from the crown of the head, which defines the man portrayed as belonging to the dynasty of the Ghall aristocratic family from Carniola. The family had patron rights over the church of St. John the Baptist at the time when the fresco was painted. Its coat of arms includes a unicorn placed diagonally over a shield. The painter probably used this element to stress his connection to the dynasty and to emphasise the self-portrait nature of the image.
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