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This paper focuses on the analysis of the ways in which the cult of the Habsburg dynasty was promoted through public monuments in Croatia in the so-called Long 19th Century, from the end of the 18th to the early 20th century. Public sculpture in Croatia at this time was under a strong dominance of the national discourse -- it mostly commemorated heroes of the Croatian cultural and sometimes also political history. Compared to the monuments to national heroes, the public monuments dedicated to members of the Habsburg family were smaller in number, and most often more modest in design and size. They can be divided into two basic groups -- monuments com- memorating events (Ereignisdenkmäler) from Croatian history connected with the Habsburgs, and monuments dedicated directly to individual members of the Habsburg family. The latter type of monuments is defined in this article in terms of what they commemorate and is divided into three groups: 1) monuments commemorating the role of the Habsburg emperors in the implementation of infrastructure projects, 2) monuments commemorating important anniversaries in the lives of individual members of the ruling house, and 3) monuments commemorating visits of Habsburgs to Croatia. [ABSTRACT FROM AUTHOR]

This paper focuses on the analysis of the ways in which the cult of the Habsburg dynasty was promoted through public monuments in Croatia in the so-called Long 19th Century, from the end of the 18th to the early 20th century. Public sculpture in Croatia at this time was under a strong dominance of the national discourse – it mostly commemorated heroes of the Croatian cultural and sometimes also political history. Compared to the monuments to national heroes, the public monuments dedicated to members of the Habsburg family were smaller in number, and most often more modest in design and size. They can be divided into two basic groups – monuments commemorating events (Ereignisdenkmäler) from Croatian history connected with the Habsburgs, and monuments dedicated directly to individual members of the Habsburg family. The latter type of monuments is defined in this article in terms of what they commemorate and is divided into three groups: 1) monuments commemorating the role of the Habsburg emperors in the implementation of infrastructure projects, 2) monuments commemorating important anniversaries in the lives of individual members of the ruling house, and 3) monuments commemorating visits of Habsburgs to Croatia. [ABSTRACT FROM AUTHOR]

The Parish Church of the Immaculate Conception of the Virgin Mary in Valpovo (1733-1736), exceptional both in its spatial organization and the design of its exterior, wasconstructed in specific circumstances in the aftermath of the liberation of Slavonia from theOttoman occupation. The old lands of Valpovo, with the medieval fort of Morovic, were, in accordance with the Habsburg politics, given as a feud to Baron Hilleprand by Charles VI. The baron initiated the construction of a monumental parish church on his estate bycommissioning its design in Vienna, as evidenced by the rich archival material onHilleprand's property housed at the State Archive in Osijek. In keeping with theprovenance of its design, the church was built as a monumental structure consisting of atwo-bay nave covered with domical vaults and flanked by a narrower semicircular groin-vaulted sanctuary and a facade belfry. The type represented by the church in Valpovo -single-aisled structure with two bays - was a sort of innovation by Johann Lucas vonHildebrandt, inspired by the famous church of San Fedele in Milan (1569) and often usedby Hildebrandt in his own church projects built under the patronage of high Austriannobility, such as the parish church in Seelowitz in Moravia (1722-27) with an integratedfacade belfry, or the parish churches in Aspersdorf (1730), Stranzendorf (1733) andGroβstelzendorf (1735-37). This architectural type was adopted and further developed byHildebrandt's contemporaries, especially his immediate follower Franz Anton Pilgram, aViennese architect whose design for the parish church in Münchendorf (1740) shows greatsimilarity with the Valpovo church, both in its proportions and in the treatment of details.All this is hardly surprising if one keeps in mind the Viennese origin and the courtly statusof the commissioner and donor of the parish church in Valpovo. It took more than two decades for the spatial features of this church to become popular in Slavonia, while its proportions and monumentality remained almost unsurpassed, with only few exceptions. [ABSTRACT FROM AUTHOR]