This thesis examines the ceiling painting by Franc Jelovšek in the palace at Breg 20 in Ljubljana, dated to 1736. It considers the history of the palace and questions surrounding its ownership, as well as the painting’s iconographic programme, which combines allegorical representation of the times of day and the four seasons. Particular attention is paid to Janez Štefan pl. Gasparini and to the role of graphic sources in the creation of the painting. The analysis demonstrates that Jelovšek drew primarily on Augsburg prints, including models by Johann Georg Bergmüller. Rather than copying these sources directly, he selectively adapted individual figures and motifs, combining and reconfiguring them to create a new composition. The painting thus provides an important example of the reception of European artistic influences in local Baroque painting and demonstrates Jelovšek’s independent and creative approach to the use of graphic models. It also highlights the important role of prints as sources for the invention and development of pictorial compositions in eighteenth-century painting.
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