J W Valvasor Presentation at State Library of Victoria

Johann Weichard Valvasor

Magnum Opus of Slovenian Polymath
JOHANN WEICHARD VALVASOR
The Polymath of the Province of Carniola.
A historiographer, geographer, ethnographer,
cartographer, natural scientist, inventor,
publisher, and military commander.
Mid 17th century Europe was

beset by upheavals that
defined the formative years
of Valvasor’s life:
The religious dissent

Anti-reformation backlash
The plague
The Thirty Years’ War
The Turkish incursions
Valvasor’s Early Years
Johann Weichard Valvasor - in Slovene -
Janez Vajkard Valvasor) was born in
Ljubljana in 1641, to a nobleman Jernej
Valvasor and his wife Ana Marija Rauber,
as the 12th of 17 children.
He grew up like most of the children of
nobility. He attended the Jesuit Collegium
in Ljubljana, studying Humanities, Latin,
Logic and Rhetorics.
After completing his studies, he decided to

further his education through travel and
military service. With a few
interruptions, he journeyed for 14 years.
From 1663 – 1664, Valvasor was among the
20 Carniolan volunteers in the Austro -
Turkish war in Slavonia, serving in the
regiment of Testo Piccolomini under the
command of Croatian Count Nikola Zrinjski
Voyages
Apart from acquiring military experience and
skills, Valvasor diligently recorded all the
matters of special interest and fame, that he
came upon; studying the animate and inanimate
world, recording anything of significance,
observing interesting facts and curiosities.
In 1666 he travelled throughout the Habsburg

Empire and most of Western Europe – Germany,
France, Italy, Netherlands, Switzerland, Spain,
Denmark, England as well as Tunisia and Libya.
In France he joined the Royal Franco-Swiss

infantry regiment. Military expertise that he
gained came in very useful a decade and a half
later in the conflict between the Ottoman and
Habsburg Empires.
Knighthood and Marriage
After his return home in 1667, Valvasor
acquired the title of Baron. On 10th July 1672
he was married to Lady Ana Rosina
Groffenbegerin von Graffenhau.
Valvasor had altogether 13 children from his

first marriage, 6 of them did not survive early
childhood.
After her many pregnancies, Ana Rosita died

at only 29 years of age, possibly of a similar
condition that caused the death of her
children. In 1687 Valvasor married again the
Baroness Ana Maksimilia Zetschker. Valvasor
had 2 more descendants from this marriage.
the graphic institution
In 1678 Valvasor established the graphic
institution for the reproduction of topographic
paintings. He was the initiator and the leader
of the workshop, as well as illustrator of the
images for the graphic reproductions.
The workshop consisted of: the copper

engraver Andrej Trost, the illustrators Janez
Koch, Matija Greischer, Peter Mungerstorff,
Johann Wiriex, Jernej Ramschuessl and the
Croatian poet Pavel Ritter Vitezovič, who was
also a graphic artist, a man of letters and
Valvasor’s close friend.
During the operation of the graphic institution

5 maps were made: the map of Carniola in
1684, the maps of Carinthia and Croatia in
1685, and the maps of Kolpa River and Lake
Cerknica, latter published in The Glory of the
Duchy of Carniola.
Dominicae
Passionis Icones, 1679
Passion booklet – Dominicae
Passionis Icones – the first work
published in 1679 in the workshop at
Bogenšperk Castle.
The images of suffering Christ are

dedicated to the Bishop of Ljubljana
and Count Jože Rabatt, and 17 copper
engravings on the theme of Christ’s
suffering are the first graphic
publications of this kind in Slovenia.
Topographia Arcium Lambergarium, 1679
The topography of the Lamberg castles – Topographia Arcium
Lambergarium – the third work published in 1679. Valvasor presented
28 castles, taken from the contemporary Topography of the Duchy of
Carniola. For the purpose of publication of this book, Valvasor remade
the plates. He removed the numbers, and with the exception of six, also
the Slovenian names of the castles. The work that presents the property
of the counts of the time – the Lambergs of Carniola is dedicated to the
Imperial Member of the Council, Count Janez Maksimiljan Lamberg.
Ovidii
metamorphoseos
icones, 1680
Ovid’s Metamorphoses –
Ovidii metamorphoseos
icones was published as an
artistic publication inspired
with the work of Latin poet
Publius Ovidius Nasa. It
shows famous myths, tales,
short stories, heroic stories
from the beginning of the
cosmos till the present. It
gives us 96 scenes with
The work is dedicated to Count Wolfgang
short Latin explanations
Engelbert von Auersperg. The copper
and with double verse in
engravings Valvasor later sold to the
German. They are also
printer Janez Krstnik Mayr who in 1685
carved into the panels.
published the extended reprint of the
work in Salzburg without
acknowledging Valvasor.
Topographia Archiducatus
Carinthiae antiquae Et
modernae Completa, 1681
The topography of contemporary
Duchy of Carinthia – Topographia
Archiducatus Carinthiae Antiquae et
Modernae was published in 1681.
There are 224 copper engravings
representing castles, towns, squares
and monasteries that existed in
Carinthia of the time. Eight pages, the
list of the paintings and the owners
of the castles were printed by Janez
Krstnik Mayr in German. A special
feature are the coats-of-arms that
appear within some images.
Topographia Carinthiae
Salisburgensis, 1681
The topography of Salzburg
Carinthia – Topographia Carinthiae
Salisburgensis is the second work
published in 1681 and was the last
topography written at the
Bogenšperk castle.
The selection of the 26 copper

engravings from the Topography of
contemporary Carinthia represents
the properties of the Salzburg
Archbishopric in the Carinthia
region. The topography was
dedicated by Valvasor to Salzburg
Archbishop Maximilian Gandolf
von Künburg.
Carniolia, Karstia, Histria
et Windorum Marchia, 1681
The book of experiment prints for
the topography of Carniola. What is
special is the fact that there are two
copperprints on each sheet. The
volume contains 261 prints on 136
sheets, but it is no longer in good
condition nor is it complete. It is an
exclusive book and a curiosity ,
which can be called the book of
experiment prints for the
topography of Carniola.
Johann Homann & J.W.F. Valvasor:
Tabula Ducatus Carnioliae, Vindorum Marchiae et Histriae
Theatrum mortis
humanae tripartitum, 1682
The scene of the human death in
three parts – Theatrum mortis
humanae tripartitum was published
in 1682. There are three chapters: I.
Death Dance, II. Various kinds of
death, III: Suffering of the doomed. It
took three years to publish, there
were only three copper engravings
printed at Bogenšperk Castle.
The complete text was printed in

Ljubljana by Janez Krstnik Mayr.
Valvasor dedicated the book with 6
unmarked pages and 256 marked
ones to Albert Reichart, the historian
of Carinthia. He was at that time
Abbot of the Benedictine Monastery
of St. Paul.
Exploration
of the Duchy of Carniola
A year after his visit to Venice in 1679, Valvasor
started preparing the publication of The Glory
of the Duchy of Carniola. On 23rd February
1680 he sent letters to the owners of castles, to
towns and monasteries, requesting historical
data, descriptions, sights and interesting
phenomena. A weak response did not deter him
in his plans to make his country known, so he
bought the house in Ljubljana in 1681 in order
to study the archives of the country, state, and
class.
In 1680 he was appointed Captain of an

infantry regiment of Lower Carniola, a military
division that was called up in case of military
danger. His last recorded military exploit was
in the year 1683.
J.W.F. Valvasor: Battle w
Last battle
At the time of the last
Turkish siege of Vienna he
was sent as the commander
of a Carniolan army division
of 400 infantry men to help
defend the Styrian eastern
border threatened by
peasants and the rebellion of
Hungarians. The expedition
left Ljubljana on 7th August
1683 and swiftly reached the
Plains of Graz. There the
army units camped at
Wildon under Valvasor’s
command. Later Valvasor
was ordered to move towards
Fürstenfeld to save the
castles and surrounding
areas and the town Radgona
from the rebels.
Mary’s Statue in Ljubljana
In the spring of 1680 he was commissioned
by the State to construct Mary’s Statue in
Ljubljana to commemorate the victory over
Turks in 1664 and to celebrate being spared
from the plague in 1679. Ljubljana was the
only capital of the Habsburg Empire that was
saved from the ravages of the epidemic.
The construction in front of St. Jacob’s Church

was completed on 27th March 1682. From a
technical point of view the most important
pieces of the monument are the column and
the statue, which are Valvasor’s invention,
and carved in a special technique in one piece.
For his exceptional work the State gave him a

financial award and his tax debts were
written off. St. Mary’s column still stands
today, as one of Ljubljana’s oldest
monuments.
J.W.F. Valvasor:
Mary’s Statue in Ljubljana
Royal Society of London
On 14th December 1687 Janez
Vajkard Valvasor was elected Fellow
of the Royal Society of London and a
part of his Treatise on Lake Cerknica
was read on that occasion. Edmund
Halley, one of the world’s famous
astronomers, did the experiment of
the filling and emptying of Lake
Cerknica. With his election Valvasor
became the fourth member of the
Society from the lands of the Austro-
Hungarian Empire, and the first and J.W.F. Valvasor: Cerknica Lake
only one from Slovenian lands.
The report about Lake Cerknica and
the procedure of casting metal
objects that was used on the
production of the Mary’s statue was
published in Philosophical
Transactions, London 1687, Number
191, and in Acta Eruditorum, Leipzig
1689.
Magnum Opus
In 1689 Valvasor finally published his life’s
work and reached the highest point of his
creativity. The Glory of the Duchy of
Carniola /Die Ehre des Herzogthums Crain
is the last of Valvasor’s published work
and by far the most important.
The work represents anticipation of the
Enlightenment movement 100 years later.
In its very creation, The Glory of the Duchy
of Carniola was a trans-national project,
combining people and works of art,
Germans, Austrians, Italians, Slovenians, a
Croat and two Dutch painters.
It describes an important segment of

common European history, whith special
attention to the historical and cultural area
of Slovenia, the south of Austria, and the
north and west of Croatia - the modern day
Alpe-Adria bio-region of Central Europe.
Carniola Chronicles
Valvasor visited the German countries
in 1684-85 and arranged for the printing
of his work in Nürnberg. At Endter’s
workshop Valvasor approached
Erasmus Francisci (1627-1694), a famous
lecturer, polymath and professional
writer, to work with him as editor and
assistant. The first volume describes the
events to 1686, the second covers the
next two years to 1688, the third and the
fourth to 1689.
There has been no book of this kind
anywhere in Europe. It is important as a
historiographic source and an
invaluable encyclopedia of a specific
area in central Europe, occupied by
Slovenian people. More than anything
else the work is a comprehensive study
of the land of Valvasor’s birth –
Carniola / Kranjska.
The Glory of the
Duchy of Carniola, 1689
The Glory of the Duchy of Carniola is divided
into 15 Books in 4 Volumes. It has 3,532 pages,
24 appendices and 528 pictures. The text is
arranged in two columns and after each title
the exact contents are listed for each chapter.
The 1st Volume consists of Books I-IV. There are 752
pages, 54 pictures, 4 appendices and the emphasis
is on scientific value.
The 2nd Volume consists of Books V-VIII, with 836
pages of text, 40 pictures illustrating the text.
The 3rd Volume consists of Books IX-XI. There are
1,128 pages and 2 pages of notes. This is the most
important part of the work with 370 illustrations
and 9 appendices.
The last Volume is partly historical in content and
is written as a chronicle. The last two books were
the main textbooks of Slovenian history for 200
years. There are 814 pages, 5 appendices and 64
illustrations.
Death
With the publication of The Glory of the
Duchy of Carniola the creative part of
Valvasor’s life is ended. Some books were
not printed because of financial problems.
Several of his books were published
posthumously or were lost.
Great publishing expenses, lack of
understanding by the state authorities for
Valvasor’s great plans, the commitments
and debts led to the end of Valvasor’s
publishing activities in 1689.
A solution for these problems was the sale
of his property and work. In 1690 after the
intervention of Valvasor’s friend Pavel
Vitezovič, his library and manuscripts
were bought by Zagreb Bishop Aleksandar
Ignacij Mikulić. His personal library is
now at the Metropolitan Library in Zagreb.
Significance
Valvasor died on 19th September 1693. His
intellectual wealth and determination left an
invaluable legacy.
While the time when Valvasor lived was not so
kind to him, the importance of his monumental
work is recognized as one of the most
significant sources in the study of history and
ethnography in Slovenia.
• J.W.F. Valvasor:
The Glory of the Duchy of Carniola
Cyrilic and Glagolitic Script
Iconotheca Valvasoriana
A Gift Of The Republic of Slovenia
Iconotheca Valvasoriana
Iconotheca Valvasoriana is the personal collection of prints and drawings
purchased by Johann Weichard Freiherr von Valvasor during 14 years of
travel throughout Europe (1659 – 1672). It is comprised of 17 volumes in folio
format, bound in leather. A total of 7,752 prints and drawings by prominent
artists of the time: Albrecht Dürer, Lucas Cranach, Rembrandt van Rijn,
Jacques Callot and German, Austrian, Dutch, Flemish, French, Italian,
English and Carynthian masters of 15th, 16th and 17th centuries. The
collection has been preserved as Valvasor himself arranged it.
Now in the Metropolitan Library of Zagreb, the original Collection is held by
the Department of Prints and Drawings of the Croatian Academy of Sciences
and Arts as the major collection of old graphic and drawings in Croatia. It
was purchased by Bishop Aleksandar Mikulić in 1691, together with
Valvasor’s library of 1520 books for the Archiepiscopal Library of Zagreb.
Background
During his travels throughout Europe between 1659 and 1672, Valvasor
studied primarily history, archaeology as well as natural sciences. On his
voyages he collected a great number of mathematical and astronomical
devices, books and manuscripts, engravings, etchings, woodcuts and
drawings, various antiquities, and rare objects. He held them all at
Bogenšperk (Wagensperg), his castle near Litija, Slovenia. In 1678 he
founded his own graphic and printing workshop in his castle. Engravings
and illustrations for his historical and topographic works were made there.
Valvasor himself glued the sheets of his collection of graphic arts into a
journal of 18 volumes, 40 x 30 cm, bound in leather, with a characteristic
ornamental decoration on the spine, with a title page in German, and with his
ex libris. In the time of Bishop Vrhovac the 4th volume was already missing,
so that only 17 volumes are preserved today.
Facsimile
Facsimile of the Iconotheca was published by Slovenian
Academy of Sciences and Arts, printed in 100 copies.
Number 1 was presented to the Valvasor Museum in the castle of
Bogenšperk; number 2 went to the Biblioteka Metropolitana in Zagreb,
where the original collection is housed; number 3 was donated by
Dr. Danilo Türk, President of the Republic of Slovenia, to the Royal Society
in London, whose member was Johann Weichard Valvasor;
number 4 was presented by the President of the Republic of Slovenia to
José Manuel Barroso, President of the European Commission in Brussels;
number 5 was donated by the Johann Weichard Valvasor Foundation
at the Slovenian Academy of Sciences and Arts to the City of Ljubljana,
Valvasor’s native town; number 15 of the Iconotheca Valvasoriana
is on show at the world exhibition EXPO 2010 in Shanghai.
Volume I
Volume I contains 429 sheets with the biblical
representations from the Old Testament.
It consists of works mostly by Dutch and Flemish authors (the families
Sadeler, Galle, Passe, Wierich, then P. v. d. Borcht, J. v. Londerseel and
others), German engravers (the families Kilian and Küssel, D. Custos,
M. Merian, J. Umbach, and others).
Included are also some works of Italian and French schools
(A. Tempesta, St. della Bella, N. Cochin, J. Duvet, A. Clouet, and others),
as well as a number of copies after named artists (e.g. P. P. Rubens).
Among them there are numerous small representations of the Holy Virgin,
Jesus, or saints, which cut in single pieces were used as prayer pictures.
Volume II
Volume II contains 480 sheets with the biblical
representations from the New Testament.
Works are mostly by Dutch, Flemish and German authors besides
those in Vol. I: F. v. Steen, Z. Dolendo, J. v. Gheyn, J. v.d. Nypoort,
J. Sandrart, L. Vorsterman, S. & B. Bolswert, D. Kruger, M. Sommer,
and others) and by some Italians (S. Scolari, G. B. Pasqualini,
M. Kolunič-Rota, and others). There are some copies after A. v. Dyck
and P. P. Rubens, as well as prints intended for the broader public
of various publishers.
Volume III
Volume III contains 466 representations
of saints and hermits.
Besides numerous prints by the Sadeler family and their copyists the
works by D. Teniers, J. Barra, M. de Bye, P. de Baillu, J. de Weert, by
German artists J. Umbach, L. Kilian, D. Custos, G. Merlo, and others,
and by Italian J. Picini, and finally modest anonymous contributions,
bearing publisher’s address only.
Volume V
Volume V contains 298 sheets with representations
of sibyls, allegories of free arts, months, seasons,
elements, cardinal points, and senses.
Predominant are Dutch, Flemish and German authors and
monogrammists (the families Sadeler, Passe, Galle, Collaert, B. Zaech,
P. de Jode, C. Cort, S. Frisius, G. Fentzek, D. v. Coornhaert, A. Eisenhoudt;
and others), with some Italian and French masters (the Ferrara School,
Ag. Carracci, D. Rosseti, N. de Poilly, N. Regnesson, J. Picart,
A. Tempesta, A. Salamanca, and others). There are also anonymous
sheets intended for the broader public, with publisher’s address only.
Volume VI
Volume VI contains 245 sheets with the
representations of costumes, fireworks, theatre
performances, architectonic views, mathematical,
geometrical devices, and others.
A great number of prints are by anonymous authors, bearing just the
address of publishers, mostly inhabitants of German, and some French
towns. Among the authors are the above - mentioned Dutch, Flemish
and German artists (Sadeler family, C. Passe, D. v. Coornhaert,
J. Collaert, V. de Vries, J. Deutecum, M. Kiissel, and others), but also
some Italian and French (E. Vico, C. Congio, J. B. Franco, R. Boyvin,
V. Regnesson, and others). As in other volumes there are sheets
intended for mass consumption, with only publisher’s address.
Volume VII
Volume VII contains 328 sheets with a great number
of geographical maps, coats-of-arms, vedute of towns
and ports, and others.
Anonymous prints for the broader public, published by various
publishers, are predominant. We also find sheets cut by artists,
e. g. R. Boyvin, C. Cort, B. Pittoni, M. Küssel, F. Place, R. Zeeman,
L. Schnitzer, and others. Or authors of geographical maps designed
and made by Jansonius, Mercator, J. & W. Blaeu, N. Visscher, J.
Sandrart, M. Küssel, S. Glavach. Among the authors of town vedute,
A. Trost and P. Ritter-Vitezovič can be mentioned.
Volume VIII
Volume VIII contains 328 broadsheets –
newsletters, representations of historical events and
solemn parades, pictures of peasants, musicians,
beggars, madmen, caricatures, and others.
Prints by anonymous masters bear publisher’s address only, other
prints are by German, Dutch and Flemish, French or Italian authors
(J. v. d. Nypoort, A. Ostade, J. de Visscher, P. Serouter, J. v. Gheyn,
G. Swannenburch, J. Saenredam, W. Holler, M. Küssel, L. Schnitzer,
J. Marot, F. Chauveau, Le Pautre, H. M. Lorch, A. Tempesta, and others).
Volume IX
Volume IX contains 312 sheets with the
representations of battles, hunting and fishing,
wild animals, birds, insects, flowers, plants,
trees and fruits, and others.
The majority of works are by Dutch, Flemish and German masters
(G. v. Wolfgang, M. Küssel, C. Galle, L. Vorsterman, the Sadeler family,
J. Collaert, D. Danckerts, C. de Mallery, J. Visscher, J. Hoefnagel,
J. Thünckel, T. de Bry, M. Merian, and others), few by Italian and
French artists (N. Cochin, Marie Briot, H. le Roy, H. Farinati,
E. Vico, and others). Some sheets are anonymous,
with publisher’s address only.
Volume X
Volume X contains 274 sheets with representations
of themes taken from Ovid’s Metamorphoses and
Virgil’s Aeneid, the cycles on Jason and Hercules, as
well as representations on poetic and love themes.
Besides the members of the Sadeler family are two artists connected
with H. Goltzius, J. v. Gheyn and R. de Baudous, then C. de Passe,
Ph. Galle, L. Scharer, G. A. Wolfgang, L. Kilian, D. Custos, further
C. Mellan, R. Boyvin, R. Persyn, C. David, T. de Leu, P. Testa,
P. Veneziano, Master with the Dice. There are also some anonymous
copies by famous artists (e. g. Marcantonio Raimondi), with
publisher’s address only, and sheets intended for the broader public.
Volume XI
Volume XI contains 332 sheets with the
representations of themes taken from Ovid’s
Ars Amandi, the Bacchanals, scenes with putti,
the naked human body, and others.
The authors are mostly from the Italian school (A. Mantegna, Master
with the Dice, B. Baderna, Ch. Alberti, M. da Ravenna after Marcantonio
Raimondi, G. Bonasone, Ag. Carracci, G. Campagnola, E. Vico, J. Franco,
G. Ghisi, and others), some Dutch and Flemish (H. Goltzius, J. v. Gheyn,
Z. Dolendo, J. Matham, the Sadeler family, J. Saenredam, J. & H. Muller,
P. Soutman, C. Galle, and others). There are also some German and
French masters (W. Hollar, L. Kilian, M. Godtich, H. Ulrich, J. Umbach,
Fr. Langlois, P. Brebiette, M. Dorigny, R. Picou, and others). Some prints
by anonymous authors – copies, with publisher’s address.
Volume XII
Volume XII contains 447 sheets. It is the last of
thematic volumes, featuring portraits.
Mostly works by German and Dutch and Flemish, a few by French and
Italian authors (the families Kilian, Passe and Custos, then
J. v. d. Nypoort, J. de Heyden, C. David, E. Sadeler, P. Isselburg,
J. Sandrart, M. Merian, L. Schnitzer, and others, J. Grandhomme,
L. Gaultier, T. de Leu, H. H. Quiter). Some portraits were cut by the
artists of the Bogenšperk graphic workshop, perhaps
also by P. Ritter-Vitezovič.
Volume XIII
Volume XIII containss 399 sheets, composed
according to the national origin of authors.
It is comprised mostly by prints of French and German authors
(the families Le Pautre and Perelle, I. Silvestre, I. I. Thoumeyser),
with some copies by Le Pautre by Susanna Maria v. Sandrart
and some works by M. Merian.
Volume XIV
Volume XIV includes 339 sheets
contains primarily the prints by
J. Callot and his associates .
Also works from his copyists (N. Cochin, F. Collignon,
A. Bosse, M. Gerardini, P. Godtich, G. v. Scheyndel),
and the works cut by St. della Bella, P. Quast
and J. Amman.
Volume XV
Volume XV contains 415 sheets with works
by German engravers, by monogrammists,
by French, Dutch and Flemish artists of the
15th and 16th centuries and their copyists.
Among authors there are: A. Dürer, H. Aldegrewer, G. Pencz,
B. & H. S. Beham, Master B. I., V. Solis, M. Zasinger (Zündt),
H. Brosamer, H. Lemberger, P. Roddelstet-Gottland,
H. S. Lautensack, D. & J. Hopfer, I. Binck, Master with the
Mousetrap, A. Altdorfer, B. Jenichen, M. Schongauer,
L. v. Leyden, P. Maes, A. Claesz, J. T. de Bry, H. Wiericx,
J. v. d. Velde, H. v. Rijn Rembrandt, S. de Laune, J. Gourmont,
and some anonymous masters.
Volume XVI
Volume XVI contains 277 sheets with
coats-of-arms (also in copper engraving
technique), together with the complete
woodcuts collection.
The authors are mostly German artists (A. Dürer, L. Cranach,
H. S. Beham, V. Solis, J. Amman, and others), with some Italian
masters of chiaroscuro (J. N. da Vicentino, U. da Carpi,
A. Andreani, and others), French monogrammists and
anonymous copyists.
Volume XVII
Volume XVII contains 465 sheets with
drawings by European artists,
mainly of 17th century.
Works are executed with pencil, sepia, chalk, bistre,
further watercolour drawings, coloured miniature pictures
on parchment (mostly with religious content), initial letters
(gold-plated), impressions of leaves. The most representative
and complete as a collection are the drawings by
J. v. d. Nypoort and D. Teniers.
Volume XVIII
Volume XVIII includes 163 sheets containing
watercolour drawings or watercolours motifs
of Flora and Fauna.
Motifs of flowers, fruits, leaves, birds, insects, animals,
then the patterns for Idrija laces,
all made most probably by Valvasor himself
or his close associates.
Iconotheca Valvasoriana Vol. I/280
Giorgio Ghisi: Last Judgement
Iconotheca Valvasoriana Vol. VI/124
Giovani Batista Franco: Emperor Constantine Offering Rome to Pope Sylvester I
Iconotheca Valvasoriana Vol. VII/134
Lucas Schnitzer: Constantinople
Iconotheca Valvasoriana Vol. VI/173
Mattäus Küssel: Love Fairy of Paris
Iconotheca Valvasoriana Vol. VII/106
Andrej Trošt: Ljubljana 1681
Iconotheca Valvasoriana Vol. VIII/50
Johann Dürr: Presentation of the Augsburg Confession to Karl V.
Liberation of Vienna from the Turkish Siege 1613
Jochannes Fischer of Harlem: Village Party
Iconotheca Valvasoriana Vol. X/87
Goltzius of Harlem: The Creation of Cosmos
Iconotheca Valvasoriana Vol. XIV/76
Jacques Callot: The Parade of Prince of Pfaltzburg
Iconotheca Valvasoriana Vol. XV/2
Jacques Callot: Fair at Impruneta
Albrecht Dürer: Adam and Eve
Albrecht Dürer: St. Hieronimus
Iconotheca Valvasoriana Vol. XVI/244
Lucas Cranach sr: Biblical motifs
Iconotheca Valvasoriana Vol. XVII/48
Justus van der Nypoort: Scene in front of a Village Inn
Iconotheca Valvasoriana Vol. XVIII/7a
The Flora and Fauna of Carniola
Iconotheca Valvasoriana Vol. XVIII/66
Iconotheca Valvasoriana Vol. XVIII/28
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J W Valvasor Presentation at State Library of Victoria

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Johann Weichard Valvasor

Johann Weichard Valvasor

Mid 17th century Europe was

The religious dissent

After completing his studies, he decided to

In 1666 he travelled throughout the Habsburg

In France he joined the Royal Franco-Swiss

Valvasor had altogether 13 children from his

After her many pregnancies, Ana Rosita died

The workshop consisted of: the copper

During the operation of the graphic institution

The images of suffering Christ are

The selection of the 26 copper

The complete text was printed in

In 1680 he was appointed Captain of an

The construction in front of St. Jacob’s Church

For his exceptional work the State gave him a

It describes an important segment of

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