Artworks Catalogue

The high altar in the Parish Church of Virgin Mary in Slivnica pri Mariboru (Institute for the Protection of Cultural Heritage of Slovenia, photo by Valentin Benedik, 2018)
The high altar in the Parish Church of Virgin Mary in Slivnica pri Mariboru (Institute for the Protection of Cultural Heritage of Slovenia, photo by Valentin Benedik, 2018)
The sculpture of St Peter (Institute for the Protection of Cultural Heritage of Slovenia, photo by Valentin Benedik, 2018)
The sculpture of St Paul (Institute for the Protection of Cultural Heritage of Slovenia, photo by Valentin Benedik, 2018)
The sculpture of the coronation of Virgin Mary (Institute for the Protection of Cultural Heritage of Slovenia, photo by Valentin Benedik, 2018)
The sculptures of putti (Institute for the Protection of Cultural Heritage of Slovenia, photo by Valentin Benedik, 2018)

Location

Slovenia, Slivnica pri Mariboru

Parish Church of Virgin Mary (Župnijska cerkev sv. Marije)

Artwork

The high altar in the Parish Church of Virgin Mary in Slivnica pri Mariboru

Type

High altar

Dimensions

Height: 730 cm, width: 860 cm, depth: 147 cm

Inscriptions

  1. Altare renovatum anno 1883 Angelo Zoratti (on the back side of the altar)
  2. Altare renovatum anno 1946 Aloysius Zorati filius Angeli (on the back side of the altar)

Critical History

The high altar in the Parish Church of Virgin Mary in Slivnica pri Mariboru was mentioned in the visitation record from 1751 and 1756.1 Ignac Orožen reported that the altar had an inscription on its back side, revealing that the altar got the new polychromy in 1753 under the parish priest Johann Jacob Dörrer.2 On January 6, 1881, the right side of the high altar as well as the tabernacle caught fire. The renovation works were done by Angelo Zoratti (Ins. 1).3 The altar was attributed to Joseph Straub by Sergej Vrišer.4

The altar`s architecture represents one among the most complex in the opus of Joseph Straub. It is concave with six columns placed forward in space. In the lower part of the altar there are also pilasters and massive ornaments. In the central niche, there is a sculpture of Virgin Mary with Jesus Child, made in 1890 by sculptor Gschiel from Graz, while the polychromy of the sculpture was done by Angelo Zoratti.5 On the left side of the niche, there is a sculpture of St James the Younger and on the right St John the Evangelist. On the arches of the side openings, there are sculptures of St Peter (on the left) and St Paul (on the right). In the upper part of the altar, there are volutes and sculptures of angels and angel heads, which surround the coronation of Virgin Mary by Holy Trinity.

Construction / Execution

The high altar is made of wood. The altar table is made of stone and is covered with wooden antependium. The altar is completely repolychromed.

The back side of the altar has well finished and smoothen surface because it was meant to be seen during certain procession activities.

Components

Carpentry
Carpentry
Completed: 1753
Technique(s): sawing, wood carving
Material(s): softwood
Sculpture
Sculpture
Author: Joseph Straub (Wiesensteig 1712 – Maribor 1756)
Completed: 1753
Patron(s): Johann Jacob Dörrer, priest
Technique(s): wood carving
Material(s): limewood
Polychromy
Polychromy
Patron(s): Johann Jacob Dörrer, priest
Technique(s): oil, water gilding
Material(s): bole, gold leaf
Polychromy
First repolychromy
Author: Angelo Zoratti (Udine 1839 – Maribor 1913)
Completed: 1886
Technique(s): oil
Material(s): oil
Polychromy
Second repolychromy
Completed: 1946
Technique(s): oil
Material(s): metal leaf, metallic pigment

Comment

The wood is infected by wood-boring insects and fungi. Some pieces of ornamental carving are missing. The left angel in the upper part of the altar fell down and was not returned back, but it was restored. The ground is lifting and falling off on several parts of polychromy, especially on gilded parts where the ground is thicker. The first polychromation of the altar architecture was an imitation of marble in blue, orange and brown shades. The drapery of the sculptures, angel wings and ornaments were gilded to imitate gold.

During the last polychromy, the gilded areas were covered with metal leaves and bronze painting.

Images

  1. The high altar in the Parish Church of Virgin Mary in Slivnica pri Mariboru (Institute for the Protection of Cultural Heritage of Slovenia, photo by Valentin Benedik, 2018)
  2. The high altar in the Parish Church of Virgin Mary in Slivnica pri Mariboru (Institute for the Protection of Cultural Heritage of Slovenia, photo by Valentin Benedik, 2018)
  3. The sculpture of St Peter (Institute for the Protection of Cultural Heritage of Slovenia, photo by Valentin Benedik, 2018)
  4. The sculpture of St Paul (Institute for the Protection of Cultural Heritage of Slovenia, photo by Valentin Benedik, 2018)
  5. The sculpture of the coronation of Virgin Mary (Institute for the Protection of Cultural Heritage of Slovenia, photo by Valentin Benedik, 2018)
  6. The sculptures of putti (Institute for the Protection of Cultural Heritage of Slovenia, photo by Valentin Benedik, 2018)

Catalogue entry prepared by Valentina Pavlič and Saša Dolinšek

Recommended citation: Valentina Pavlič and Saša Dolinšek, The high altar in the Parish Church of Virgin Mary in Slivnica pri Mariboru, in: TrArS – Tracing the Art of the Straub Family, 2018, (accessed 13/07/2020) URL

Sources and Bibliography

  1. Sergej Vrišer, Baročno kiparstvo na slovenskem Štajerskem, Maribor, Obzorja, 1963
  2. Sergej Vrišer, Baročno kiparstvo na slovenskem Štajerskem, Ljubljana, Slovenska matica, 1992
  3. Anton Ožinger, Vizitacijski zapisniki savinjskega arhidiakonata goriške nadškofije 1751–1773 = Atti delle visite pastorali nell‘arcidiaconato di valle Saunia della arcidiocesi di Gorizia 1751–1773 = Die Berichte der Pastoralvisitationen im Archidiakonat Saunien der Erzdiözese Görz 1751–1773, Ljubljana, Arhiv Republike Slovenije; Inštitut za zgodovino Cerkve Teološke fakultete ; Znanstveni inštitut Filozofske fakultete, 1991
  4. Archiepiscopal Archives of Maribor, POPIS D XVI – XXII.

Notes

1 Anton Ožinger, 1991, 196, 317

2 Ignaz Orožen, 1875, 449–450

3 Archiepiscopal Archives of Maribor, POPIS D XVI–XXII

4 Sergej Vrišer, 1963, 169; Sergej Vrišer, 1992, 236

5 Archiepiscopal Archives of Maribor, POPIS D XVI–XXII. It is said that there are even two older sculptures, which were in the niche before and were replaced: the oldest one is in a chapel in Dobrovce and the one, which was replaced with the today`s sculpture in a chapel in Rače.