Stylistic Restoration of the Trakošćan Castle in the Middle of the 19th Century

Trakošćan, titularni grad Draškovića temeljito je obnavljen sredinom 19. stoljeća u neogotičkom stilu. Istoj estetskoj koncepciji podvrgnut je krajobraz s jezerom. Obnova u duhu romantičnog sjećanja upućuje na poveznicu sa sličnim arhitektonskim i restauratorskim zahvatima, koji se polovinom 19. stoljeća izvode na srednjeuropskim burgovima. Kompleksna ličnost obnovitelja Trakošćana, Jurja VI. (Georga) Draškovića, oblikovana je društveno političkim i povijesnim okvirom. Njegov snažno izražen romantičarski duh, upotpunjen bidermajerskom sviješću, odražava se pri restauraciji Trakošćana. Povezivanjem trakošćanske pregradnje s prvim konzervatorskim zahvatima na području Austrijskog carstva (1804. - 1867.), dokazuje se da je stilska pregradnja Trakošćana znatno više od romantične želje da se novoobnovljenim dvorcem zadivi svijet. Provedenim terenskim istraživanjem u Laxenburgu, Dvoru Trakošćan, isčitavanjem arhivskih izvora, starih hrvatskih i austrijskih novina te proučavanjem vizuala (prikazi iz stalnog postava i depoa dvorca, slike iz zbirke MUO u Zagrebu, materijali iz privatnih zbirki) kontekstualizirani su konzervatorsko-restauratorski zahvati sredinom 19. stoljeća.Trakošćan, the titular castle of the Drašković family was thoroughly refurbished and extended in the spirit of romantic memory, in Neo-Gothic style. The park and the lake were subjected to the same aesthetic concept. This points to a link with similar architectural and restoration interventions which were carried out in the middle of the 19th century in Central European castles. The complex personality of the first restorer of Trakošćan, Juraj VI (Georg) Drašković, was shaped by the social and political framework. Its strongly expressed romantic spirit, complemented by Bidermaier consciousness, is reflected in the restoration of Trakošćan. Linking the rebuilding of Trakošćan,in the mid-19th century, with the earliest conservation interventions, has proved that the stylistic rebuilding of Trakošćan is far more than Juraj\u27s romantic desire to fascinate the world with the newly-restored castle. With the field research in Laxenburg and Trakošćan castle, the reading of archival sources, old Croatian and Austrian newspapers and the study of visuals (from the permanent exhibition and depot of the Trakošćan castle, paintings from the Museum of Arts and Crafts in Zagreb and materials from private collections) the paper is contextualizing interventions in the mid 19th century