Artworks Catalogue

The altar of St Anthony of Padua in the succursal church of the Virgin Mary of the Assumption in Podlehnik (Institute for the Protection of Cultural Heritage of Slovenia, photo by Valentin Benedik, 2018)
The upper part of the altar (Institute for the Protection of Cultural Heritage of Slovenia, photo by Valentin Benedik, 2018)
The altar`s painting with the sculptures of St Bonaventure and unknown saint (Institute for the Protection of Cultural Heritage of Slovenia, photo by Valentin Benedik, 2018)
The sculpture of St Bonaventure (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 ornamentation of the altar (Institute for the Protection of Cultural Heritage of Slovenia, photo by Valentin Benedik, 2018)

Location

Slovenia, Podlehnik

Succursal Church of the Virgin Mary of the Assumption (Podružnična cerkev sv. Marije Vnebovzete)

Artwork

The altar of St Anthony of Padua in the succursal church of the Virgin Mary of the Assumption in Podlehnik

Type

Side altar

Dimensions

Height: 460 cm, width: 400 cm

Inscriptions

  1. 1757 (on the predella on the altar)
  2. Vera efigies S. Antonii de Padua (on the altar`s painting)

Critical History

The side altar of St Anthony of Padua in the Succursal Church of the Virgin Mary of the Assumption in Podlehnik was mentioned as a documented work of Joseph Straub by Sergej Vrišer already in 1957.1 Later, he added the information that both altars (the altar of St Lucy and the altar of St Anthony of Padua) were made by Joseph Straub according to the parish chronicle, which is currently missing.2 Vrišer also pointed out that the church was under the direction of the minorite order and Joseph Straub worked for the minorites also in Ptuj and in Celje.3 Later, Vinko Munda provided more details about the altar: in 1754, Joseph Straub made the altar for 187 fl 45 kr and Franz Anton Pachmayr from Ptuj made the polychromy.4

In the centre of the altar, there is a painting of St Anthony of Padua of unknown painter, in a massive frame with shell ornaments and two angel heads. On the right side, there is a sculpture of St Bonaventure with a chalice, and a sculpture of unknown saint on the left side. Above 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 is a sculpture of St Anthony of Padua with two big kneeling angels on the sides, four putti, four angel heads and a dove of the Holy Spirit. The ornamentation of the altar with wreath of roses and a roccaile is massive. The postures and gestures of the sculptures on the altar are all rather expressive compared to the other works of Joseph Straub. Because of the same iconography of the sculptures (monks) the comparison with the sculptures from Ptuj and Celje is the most appropriate one. One should also point out that the drapery of the sculptures has significant creases and big open sleeves – a characteristic that can be observed in some other sculptures in Joseph Straub opus.

Construction / Execution

The altar is made of wood and is placed on the stone altar table. The backside shows smoothed surface because it was meant to be seen during some processions. The polychromy is imitating marble, ornaments are imitating gold. The sculptures are painted naturalistically and have gilded drapery and wings. Carved flowers are partially silvered and painted with coloured varnish to imitate precious stones. In the centre of the altar, a painting on canvas is placed in carved gilded frame.

Components

Carpentry
Carpentry
Technique(s): sawing
Material(s): wood
Sculpture
Sculpture
Author: Joseph Straub (Wiesensteig 1712 – Maribor 1756)
Patron(s): minorite, religious order
Technique(s): wood carving
Material(s): limewood
Painting
Painting
Technique(s): oil on canvas
Material(s): linen canvas
Polychromy
Polychromy
Completed: 1757
Technique(s): oil, water gilding
Material(s): calcium carbonate, gold leaf, red bole, silver leaf, size
Polychromy
First repolychromy
Technique(s): tempera

Comment

There is one repolychromy on the altar of St Anthony. The golden surfaces on sculptures and ornaments are probably original, except few parts of drapery on St Peter and St Paul are painted blue. The carpentry is in stable condition. The lime wood of ornaments and sculptures is infected by fungi and wood-boring insects. Some parts of sculptures and ornamentation are missing. The ground layer is cracking and falling off the wooden support. The layer of gold is wiped off on the base of the altar.

There was no restoration activity on the altar in the past, with the exception of the overpainting on the original polychromy.

Images

  1. The altar of St Anthony of Padua in the succursal church of the Virgin Mary of the Assumption in Podlehnik (Institute for the Protection of Cultural Heritage of Slovenia, photo by Valentin Benedik, 2018)
  2. The upper part of the altar (Institute for the Protection of Cultural Heritage of Slovenia, photo by Valentin Benedik, 2018)
  3. The altar`s painting with the sculptures of St Bonaventure and unknown saint (Institute for the Protection of Cultural Heritage of Slovenia, photo by Valentin Benedik, 2018)
  4. The sculpture of St Bonaventure (Institute for the Protection of Cultural Heritage of Slovenia, photo by Valentin Benedik, 2018)
  5. The sculpture of St Paul (Institute for the Protection of Cultural Heritage of Slovenia, photo by Valentin Benedik, 2018)
  6. The ornamentation of the altar (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 altar of St Anthony of Padua in the succursal church of the Virgin Mary of the Assumption in Podlehnik, in: TrArS – Tracing the Art of the Straub Family, 2018, (accessed 13/07/2020) URL

Sources and Bibliography

  1. Archiepiscopal Archives of Maribor, Vinko Munda, Zgodovinski opis župnije sv. Trojice v Malozah s podružnicami v Podlehniku, Sv. Duhu in Novi cerkvi, Sv. Trojica v Halozah, tipkopis. POPIS DXXIII – DXXVIII., 1957
  2. Sergej Vrišer, Mariborski baročni kiparji, in: Zbornik za umetnostno zgodovino, n. v. IV, 1957, 71–127
  3. Sergej Vrišer, Baročno kiparstvo na slovenskem Štajerskem, Maribor, Obzorja, 1963
  4. Sergej Vrišer, Baročno kiparstvo na slovenskem Štajerskem, Ljubljana, Slovenska matica, 1992

Notes

1 Sergej Vrišer, 1957, 90.

2 Sergej Vrišer, 1963, 168; Sergej Vrišer, 1992, 235.

3 Sergej Vrišer, 1957, 90; Sergej Vrišer, 1992, 133.

4 Vinko Munda, 1957, 25.