Artworks Catalogue

The high altar in Karlovac, Banija (Croatian Conservation Institute Photo Archive, photo by Goran Tomljenović, 2017)
The high altar before conservation (photo by Martina Ožanić, 2010)
The sculpture of angel (Croatian Conservation Institute Photo Archive, photo by Goran Tomljenović, 2017)
The sculpture of angel (Croatian Conservation Institute Photo Archive, photo by Goran Tomljenović, 2017)

Location

Croatia, Karlovac County, Karlovac

Parish church of the Magi (Župna crkva Sv. tri kralja)

Artwork

The High Altar of the Magi in Karlovac (Banija)

Type

High altar

Dimensions

Height: 445 cm, width: 277 cm, depth: 60 cm

Inscriptions

  1. HAEC ARAE VOTO DONATA EST / A MICHAELE TVZIBAT (on the cartouche above the painting)
  2. Sv. Tri Kralja (on the same cartouche before the removal of repolychromies)
  3. Mich. Schlechta pinx (on the lower right angle of the painting)
  4. Nj. jasnost Knez Albert Lamoral od Thurn i Taxis-a / Dr. Ivan Graho grad. načelnik / Vlado Milihram posjednik (on the antependium of the side altar)

Critical History

The votive chapel of the Magi was donated by the Karlovac merchant Mihalj Tucibat in 1759.1 The chapel furnished with three altars was first mentioned in the records of canonical visitation of 1771.2 According to the inscription (Ins. 1), the high altar was completed in 1762. 3 Doris Baričević attributed the sculptural work to Franz Anton Straub based on the stylistic comparison with the work of his brothers.4 The tabernacle dates from the same time.5 The original altar painting "The Adoration of the Magi" was painted in 1760 by Gabriel Taller, who was charged with the work following the wish of the general auditor Matija Hangel.6 Đurđica Cvitanović supposed that the painting was later repainted,7 but it was actually replaced by a new one painted by Michael Schlechta in 1820–1840 (Ins. 3), in the course of the thorough renovation of the chapel.8 The painting was in turn replaced by a copy. The conservator Tatjana Horvatić found Schlechta's painting on the church choir in 2005. Restoration works that followed revealed his signature.9 The polychromy from 1762 could be by Gabriel Taller who at the time lived in nearby Kamensko where he executed many artworks for the Pauline church.10 The altar has been renovated several times. The final repolychromy was carried out in 1936, when dr. Ivan Graho served as a mayor (Ins. 4). It was recorded in the parish cronicle the local wall-painter Rudolf Kralj was payed 3000 din. collected from parishioners to paint the walls and altars.11 The chapel became a parish church in 1969.

Construction / Execution

According to the restorers' insight, the plate behind the christogram might have been added later. If this is the case, then the original structure of the attic was even lighter than it is now, because the light from the oculus would outline the contour of the christogram.12

Components

Carpentry
Author: Franz Anton Straub (Wiesensteig 1726 – Zagreb ca. 1774)
Completed: 1760
Patron(s): Michael Tucibat, individual devotion
Material(s): wood
Sculpture
Author: Franz Anton Straub (Wiesensteig 1726 – Zagreb ca. 1774)
Completed: 1760
Patron(s): Michael Tucibat, individual devotion
Material(s): wood
Painting
The Adoration of the Magi
Author: Gabriel Taller (Krakow? 1710 – Lepoglava 1780)
Completed: 1760
Technique(s): oil on canvas
Painting
The Adoration of the Magi
Author: Michael Schlechta
Completed: ca. 1820 – ca. 1840
Technique(s): oil on canvas
Painting
The Adoration of the Magi
Completed: 1970 – 1980
Polychromy
Author: Gabriel Taller (Krakow? 1710 – Lepoglava 1780)
Completed: 1762
Patron(s): Michael Tucibat, individual devotion
Technique(s): water gilding
Material(s): gold leaf, linseed oil, red bole, silver leaf
Polychromy
First repolychromy
Technique(s): oil gilding
Material(s): gold leaf
Polychromy
Second repolychromy
Author: Rudolf Kralj
Completed: 1936
Patron(s): multiple, parishioners
Material(s): metallic pigment

Comment

The original painting by Gabriel Taller has not been preserved. According to the conservation-restoration research, the marbled surfaces have been repainted three times, whereas the silvered and gilded ones have been repainted four times.13

Conservation-restoration

1979

Treatment Description

The painting "The Adoration of the Magi" was restored by Josip Restek in 1979.14

2007

Strategy: removing dirt, removing varnish

Approach to the presentation of losses

Reintegration of lacunae – mimetic: total

Materials: acetone, Beva 371, ethyl alcohol, methyl cellulose, Paraloid B-72, Plexisol, polyester canvas, white spirit

Treatment Description

The painting "The Adoration of the Magi" was restored by Zlatko Bielen in 2007. According to the restorer, the yellowish powdery ground indicates the 19th century technology.15

2012–2014

Strategy: removing one or several historic repolychromies

Approach to the presentation of losses

Reintegration of lacunae – mimetic: total

Reconstruction of losses: total

Materials: acetone, balsa wood, Carbopol, demineralized water, Ethomeen C/25, ethyl alcohol, gold leaf, limewood, mastic resin, paint stripper, Paraloid B-72, Planatol BB, rabbit-skin glue, red bole, shellack, Shellsol T, silver leaf, skin glue, toluene, white spirit, xylene, yellow bole

Treatment Description

The conservation-restoration of the altar was executed by the private company Dok-Art.16

Images

  1. The high altar in Karlovac, Banija (Croatian Conservation Institute Photo Archive, photo by Goran Tomljenović, 2017)
  2. The high altar before conservation (photo by Martina Ožanić, 2010)
  3. The sculpture of angel (Croatian Conservation Institute Photo Archive, photo by Goran Tomljenović, 2017)
  4. The sculpture of angel (Croatian Conservation Institute Photo Archive, photo by Goran Tomljenović, 2017)

Catalogue entry prepared by Ksenija Škarić and Martina Ožanić

Recommended citation: Ksenija Škarić and Martina Ožanić, The High Altar of the Magi in Karlovac (Banija), in: TrArS – Tracing the Art of the Straub Family, 2018, (accessed 24/01/2026) URL

Sources and Bibliography

  1. Archive of the Archbishopric of Zagreb, Canonical visitations, Gorica Archdeaconry, protocol 122/V, 1771
  2. Parish Archive Hrnetić, Acta Visitationis Canonicae Episcopalis in Parochia Hernetichensi diebus 24a et 25a Junii anno Domini 1841 servatae
  3. Parish Archive Hrnetić, Spomenica župe Hrnetić
  4. Đurđica Cvitanović, Neka nova otkrića o pavlinskom slikarstvu, in: Vijesti muzealaca i konzervatora Hrvatske, 20/3, Radoslav Puntar (ed.), Zagreb, Muzejsko društvo Hrvatske; Podružnica za Hrvatsku Društva konzervatora Jugoslavije, 1971, 3–14
  5. Đurđica Cvitanović, Povijest i barokna obnova pavlinskog samostana i crkve Bl. dj. Marije Snježne u Kamenskom, in: Kamensko, crkva i samostan pavlina, Zagreb, Restauratorski zavod Hrvatske; Institut za povijest umjetnosti Sveučilišta u Zagrebu, 1973, 7–41
  6. Iz povijesti karlovačkih župa, Viktor Štimec et al. (ed.), Karlovac, Rkt. župe grada Karlovca, 1979
  7. Đurđica Cvitanović, Kulturna i umjetnička baština Karlovca od osnutka tvrđave do 19. stoljeća, in: Karlovac 1579 – 1979, Karlovac, Historijski arhiv u Karlovcu, 1979, 373–406
  8. Đurđica Cvitanović, Slikarstvo pavlinskog kruga u 17. i 18. stoljeću, in: Kultura pavlina u Hrvatskoj 1244–1786., Zagreb, Globus, Muzej za umjetnost i obrt, 1989, 165–181
  9. Doris Baričević, Članovi kiparske obitelji Straub u Hrvatskoj, in: Peristil. Zbornik radova za povijest umjetnosti, 35–36, Radovan Ivančević (ed.), Zagreb, 1992–1993, 193–218
  10. Ministry of Culture of the Republic of Croatia, Conservation Department in Karlovac, Zlatko Bielen, Izvješće o izvršenim konzervatorsko-restauratorskim radovima na slici "Sv. Tri Kralja" iz župne crkve sv. Tri Kralja na Baniji, u Karlovcu, Zagreb, 2007
  11. Doris Baričević, Barokno kiparstvo sjeverne Hrvatske, Zagreb, Školska knjiga; Institut za povijest umjetnosti, 2008
  12. Ministry of Culture of the Republic of Croatia, Conservation Department in Karlovac, Andrej Dokić, Igor Borić, Azra Grabčanović (Dok-Art), Izvješće: izvedeni konzervatorsko-restauratorski radovi na oltaru sv. Tri Kralja iz župne crkve sv. tri kralja, Karlovac, Zagreb, 2013
  13. Ministry of Culture of the Republic of Croatia, Conservation Department in Karlovac, Petra Perlain, Andrej Dokić (Dok-Art), Konzervatorsko-restauratorski zahvat na oltaru sv. Tri Kralja i pripadajućim skulpturama, župna crkva sv. Tri Kralja, Karlovac, Zagreb, 2015
  14. University of Zagreb, Faculty of Humanities and Social Sciences, Martina Ožanić, Atektonsko građeni oltari XVIII. stoljeća na poručju sjeverozapadne Hrvatske, PhD Thesis, Zagreb, 2017

Notes

1 Pastor Ivan Krstitelj Cerovski reports on the event in the parish cronicle in 1886. Spomenica župe Hrnetić

2 Canonical visitations, Gorica Archdeaconry, protocol 122/V, 1771, 460: "Capella Sanctorum Trium Regum murata, noviter erecta ante pontem Carlostadiensem in jurisdictione provinciali, provisa aris tribus, decoris et necessarijs ad myssae sacrificium instructis." (Transribed by Šime Demo)

3 The letter "L" in Michaele was probably meant to be red, since the year 1712 wouldn't have sense.

4 Doris Baričević, 1992–1993, 210–211

5 Idem, 210

6 Đurđica Cvitanović, 1971, 6, 10–11; Đurđica Cvitanović, 1973, 19. Paroch Cerovski mentioned in the parish chronicle in 1886 that Pauliner brother Gabriel Taller painted the chapel of the Magi.

7 Đurđica Cvitanović, 1989, 171

8 Acta Visitationis Canonicae Episcopalis in Parochia Hernetichensi diebus 24a et 25a Junii anno Domini 1841 servatae. The chapel was renovated again in 1886 for 450 florins, and then again in 1922, 1935 and 1958. Spomenica župe Hrnetić.

9 We owe a gratitude to Tatjana Horvatić for this information.

10 Đurđica Cvitanović, 1973, 20–21

11 Spomenica župe Hrnetić; Viktor Štimec et al.(ed.), 1979, 15

12 Andrej Dokić et al., 2013, 13. Such transparent attic zones without rear panel enable light from a background window to shine through the construction, thus creating almost ethereal character. It was a popular composition all over Central Europe in 18th century. See more in Martina Ožanić, 2017, 54-58.

13 Petra Perlain, Andrej Dokić, 2015, 14.

14 Viktor Štimec et al. (ed.), 1979, 19.

15 Zlatko Bielen, 2007.

16 Andrej Dokić et al., 2013; Petra Perlain, Andrej Dokić, 2015.