Artworks Catalogue

Zlatar, high altar (Photo by Croatian Conservation Institute, G. Tomljenović, 2018)
Zlatar, high altar, the sculpture of St Joachim (Photo by Croatian Conservation Institute, G. Tomljenović 2018)
Zlatar, high altar, the sculpture of St Anna (Photo by Croatian Conservation Institute, G. Tomljenović 2018)
Zlatar, high altar, the sculpture of Jesus Christ (Photo by Croatian Conservation Institute Photo Archive, Edo Anušić, 2011)

Location

Croatia, Krapina-Zagorje County, Zlatar

Parish Church of the Assumption of the Blessed Virgin Mary (Župna crkva Uznesenja Blažene Djevice Marije)

Artwork

High Altar in the Parish Church of the Assumption of the Blessed Virgin Mary in Zlatar

Type

High altar

Inscriptions

  1. 1758 (on the cartouche held by the large sitting cherub on the attic, not visible today due to repolychromy)
  2. ASSUMPTA/EST/MARIA/IN/COELUM (on the cartouche carried by the flying cherub low to the right of the Blessed Virgin)
  3. EXULTA IOACHIM (on the base of the sculpture of St Joachim)
  4. GAUDE ANNA (on the base of the sculpture of St Anna)
  5. Tomo Fuček / 12-7 1934 / 12 srpanj (the inscription made in pencil on the back side of the retable)
  6. 19 F IIL 34 (scratched in the supporting beam on the backside of the altar)

Critical History

The altar was first mentioned in the text of the Canonical visitation in 1758 as being newly erected thanks to the local nobleman Franjo Praskač,1 but without polychromy and gilding which were completed in 1762 when it was consecrated.2 The parish chronicle in 1762 described the altar and mentioned that the donor paid a high sum of 720 florens. It also mentioned that the two large sitting cherubs on the attic hold cartouches with the date (1758) and the donor's coat of arms inscribed, which are not visible today due to a repolychromy layer.3

The unique construction and the high quality of artistic performance were recognized in all publications,4 and by Doris Baričević in particular, who attributed the altar to Joseph Holzinger based on resemblance to his later known works.5 However, in 2006 Matej Klemenčič proposed a new attribution to Joseph Straub, due to the striking similarities of sculptures of St Anna and St Joachim with the sculptures from the parish church in Studenci (now in Pokrajinski muzej Maribor).6 If so, the high altar in Zlatar is most likely one of his latest works.
In 2018 Simona Kostanjšek Brglez and Boštjan Roškar proposed another attribution – to Philipp Jakob Straub, based on a comparison with his other attributed works (for example, the sculpture of St Anna with the sculpture of St Anna on the left side altar in Dravograd, which they also attributed to Philipp Jakob).7
Moreover, the sculpture of St Joachim can be compared in posture and details of drapery to the sculpture of St Joseph, and in the details of beard and face to the sculpture of St Joachim, both on the side altar of Mary in the transept of the parish church in St. Paul im Lavanttal in Austrian Carinthia, attributed also to Philipp Jakob Straub.

The altar was renovated in 1934 by Josip Andres and his daugther,8 probably in cooperation with the carpenter Tomo Fuček (Ins 5 and 6).

Construction / Execution

The altar is situated in the chancel, where it occupies the entire rear wall of the apse. There are side openings on both ends. The central sculptural scene of the Assumption extends towards the attic zone where the Holy Trinity awaits Mary carried by angles and clouds. The sculptures of St Joachim and St Anna stand above side openings. The sculpture of St Joachim lacks his shepherd's crook.

Components

Carpentry
Author: Joseph Straub (Wiesensteig 1712 – Maribor 1756)
Completed: 1758
Patron(s): Franjo Praskač, noble
Technique(s): sawing, wood carving
Material(s): softwood
Sculpture
Author: Joseph Straub (Wiesensteig 1712 – Maribor 1756)
Completed: 1756
Patron(s): Franjo Praskač, noble
Technique(s): wood carving
Material(s): limewood
Sculpture
Author: Joseph Holzinger (Limbuš 1735 – Maribor 1797)
Completed: 1758
Patron(s): Franjo Praskač, noble
Technique(s): wood carving
Material(s): limewood
Polychromy
Completed: 1762
Technique(s): water gilding
Material(s): gold leaf, red bole, yellow bole
Polychromy
First repolychromy
Author: Josip Andres
Completed: 1934
Material(s): metallic pigment

Conservation-restoration

1994

Strategy: removing dirt, removing one or several historic repolychromies, removing varnish

Approach to the presentation of losses

Reintegration of lacunae – mimetic: total

Reconstruction of losses: total

Treatment Description

The sculptures of St Joachim and St Anna were partially restored in 1994 for the purpose of Sveti trag (Holy trail) exhibition in Zagreb, when the 18th-century polychromy was exposed. It seems that the repolychomy was preserved on the coloured part of the garment, probably due to the delicacy of the glazed surfaces.

2011

Strategy: preserving one or several repolychromies, preserving patina, preserving varnish, removing dirt

Approach to the presentation of losses

Preserving lacunae: total

Materials: demineralized water, ethyl alcohol, metal screws, petroleum benzine, PVA adhesive, rabbit-skin glue, Shellsol T, wood, wood powder, wooden pins

Treatment Description

The on site conservation of the attic was carried out in 2011 by the Croatian Conservation Institute (led by Edo Anušić). The treatment included structural consolidation, as well as the cleaning and consolidation of wood and polychromy. 9

Images

  1. Zlatar, high altar (Photo by Croatian Conservation Institute, G. Tomljenović, 2018)
  2. Zlatar, high altar, the sculpture of St Joachim (Photo by Croatian Conservation Institute, G. Tomljenović 2018)
  3. Zlatar, high altar, the sculpture of St Anna (Photo by Croatian Conservation Institute, G. Tomljenović 2018)
  4. Zlatar, high altar, the sculpture of Jesus Christ (Photo by Croatian Conservation Institute Photo Archive, Edo Anušić, 2011)

Catalogue entry prepared by Martina Ožanić and Ksenija Škarić

Recommended citation: Martina Ožanić and Ksenija Škarić, High Altar in the Parish Church of the Assumption of the Blessed Virgin Mary in Zlatar, in: TrArS – Tracing the Art of the Straub Family, 2018, (accessed 21/10/2025) URL

Sources and Bibliography

  1. Archives of the Archdiocese of Zagreb, Canonical visitations, Zagorje Archdeaconry, protocol 23/V, 1758
  2. Archives of the Archdiocese of Zagreb, Canonical visitations, Zagorje Archdeaconry, protocol 23/V, 1768
  3. Gjuro Szabo, Spomenici kotara Krapina i Zlatar, in: Vjesnik hrvatskog arheološkog društva, Nove serije sveska XIII. 1913/1914, Josip Brunšmid (ed.), Zagreb, Tisak kraljevske zemaljske tiskare, 1914
  4. Vjekoslav Noršić, Povijest župe Uznesenja Bl. Dj. Marije u Zlataru, Gradsko poglavarstvo: Općinsko poglavarstvo: Župa Zlatar (ed.), Zlatar, 1994. [1942.]
  5. Doris Baričević, Pregled spomenika skulpture i drvorezbarstva 17. i 18. stoljeća u istočnom dijelu Hrvatskog zagorja, in: Ljetopis Jugoslovenske akademije znanosti i umjetnosti, 76, Zagreb, JAZU , 1972, 308–310
  6. Anđela Horvat, Barok u kontinentalnoj Hrvatskoj, in: Barok u Hrvatskoj, Zagreb, 1982, 1–381
  7. Doris Baričević, Barokno kiparstvo sjeverne Hrvatske, in: Tisuću godina hrvatske skulpture. Thousand years of Croatian Sculpture (exhibition catalogue), Zagreb, Muzejsko-galerijski centar, 1991, 79–96
  8. Matej Klemenčič, Die Bildhauer Straub in der österreichischen und slowenischen Steiermark, in: Bayern und Slowenien im Zeitalter des Barock. Architektur. Skulptur. Malerei. Zweites slowenisch-bayerisches kunstgeschichtliches Kolloquium, Janez Höfler, Frank Büttner (ed.), Regensburg, Schnell & Steiner, 2006, 105–113
  9. Croatian Conservation Institute, Edo Anušić, Izvješće o provedenom preventivnom i izravnom konzerviranju atike glavnog oltara župne crkve Uznesenja Blažene Djevice Marije u Zlataru, 2011
  10. Simona Kostanjšek Brglez, Boštjan Roškar, Vprašanje kontinuitete delavnice kiparja Jožefa Strauba in veliki oltar v podružnični cerkvi sv. Jožefa v Slovenski Bistrici , in: Umetnostna kronika, 60, Ljubljana, Umetnostnozgodovinski inštitut Franceta Steleta , 2018, 3–21

Notes

1 Canonical visitation 23/V, 1758, 111: "Anno Domini 1758., die 21. Junij, visitavi hanc ecclesiam parochialem Beatae Virginis Mariae sub titulo Assumptae, juris patronatus inclytae familiae Keglevichianae aliorumque plurium ejusdem parochiae nobilium. Cujus sanctuarium jam perfectum et lapide scisso polito stratum est. In eo nova ara major, operis sculptorij et arcularij, eleganter elaborata, necdum depicta, impensis et munificentia nobilis domini Francisci Praszkach, ecclesiae hujus concolatoris et patroni, aposita conspicitur." (transcription by Šime Demo)

2 Canonical visitation 23/V, 1768, 290: "Anno Domini 1768., die 29. Novembris, visitavi hanc ecclesiam parochialem tituli Beatae Virginis Mariae in caelos Assumptae, quae posteaquam quoad sui structuram et splendorem majori ex parte perfecta fuisset anno Domini 1762do, die 22da Augusti solemni ritu consecrata est una cum aris, scilicet per illustrissimum et reverendissimum dominum, dominum Stephanum Pucz, episcopum Belgradiensem, praepositum majorem et canonicum seniorem Zagrabiensem, archidiaconum Gorensem et Zagoriensem (titulus), assignata pro anniversario dedicationis Dominica prima post festum Beatae Virginis Mariae Natae. Itaque ecclesia haec tota murata est et sub fornicem posita et aris 6 exornata, quarum prima et major dedicata est honori Beatae Virginis Mariae in caelos Assumptae (...)" (transcription by Šime Demo)

3 Vjekoslav Noršić, 1994. [1942.], 25; Doris Baričević, 1972, 309

4 Gjuro Szabo judged it as a good work of the Baroque style. Gjuro Szabo, 1914, 200. Vjekoslav Noršić noticed the similarity with the high altar in Trški vrh by Philipp Jakob Straub, which drove him to the conclusion that the sculptor was the same. Vjekoslav Noršić, 1994. [1942.], 25.
Anđela Horvat singled out the high altar as one of the most distinguished sculptural works in north-west Croatia. She noticed similarities between the statues of St Joachim in Zlatar and St Joachim in Maribor by Joseph Straub, but complied with the attribution to Holzinger given by Baričević. Anđela Horvat, 1982, 229.

5 Doris Baričević published this attribution in 1991, however, it was already in 1982 that Anđela Horvat wrote that the sculptures "[...] were carried out - according to D. Baričević - by Joseph Holzinger".  See Anđela Horvat, 1982, 229; Doris Baričević, 1991, 94.

6 Matej Klemenčič, 2006, 112–113.

7 Simona Kostanjšek Brglez, Boštjan Roškar 2018, 17-19.

8 Vjekoslav Noršić, 1994 [1942.], 32–34. The text is not specific regarding what kind of renovation was carried out: "Prigodom oslikavanja crkve, ovaj je oltar [Sv. Fabijana i Sebastijana], zajedno s glavnim, obnovljen 1934." (When the church walls were painted in 1934, this altar [of St Fabian and Sebastian] together with the main altar, was renovated.)

9 Edo Anušić, 2011

The TrArS project is dedicated to the study and presentation of artworks created by members of the Straub family in 18th century Germany, Austria, Slovenia and Croatia. This website is being updated regularly and reflects the current state of the ongoing research.

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Ksenija Škarić, project manager
Croatian Conservation Institute

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