Explore Slovene Museum of Christianity

On the rectangular base two heads of the saints are presented. The facial expressions of St Cyril and St Methodius are serious.

A double statue of a Woman of the Apocalypse. Mary, an apocalyptic woman is surrounded by flaming ray of light (Mulier amicta sole) and with a crown on her head. The statue was once hung in a churche, so that she was visible from the both sides. These dual statues are now rare.

Wooden statue with expressive depiction of the head of Christ. There are three female heads below it. Statue could show one of the stations of the cross, when Jesus encounters a woman of Jerusalem on the road of suffering. On the back is the signature: JARM 84.

A wooden statue of Pietà with an expressive image of a dead Christ. On the back is a signature: JARM 01.

Wooden statue of Christ, kneeling with high lifting hands. The motive indicates the events during the Second World War and the suffering of the Slovene population, especially in Kočevje area. On the reverse side is the signature: JARM 95.

The statuette is the third casting out of a total of three bronze castings. The original statuette was made from clay and is preserved in the Gallery of Modern Art (Moderna galerija) in Ljubljana.

The naked saint in a cauldron, dressed only in a lumbar cloth, is looking up at the sky during prayer. St. Vitus as the central altar figure most likely forms part of an altar dedicated to him. St Vitus (Veit) was born in the late 3^rd century in Macara, Sicily. St. Vitus is one of the most venerated saints of the Catholic Church. Many churches across the world are consecrated to him, the most famous among them being the Prague cathedral, which was built to store a reliquary with the saint's hand. St. Vitus is usually depicted as a boy standing in a kettle amidst flames. St. Vitus is one of the Fourteen Holy Helpers; his feast is celebrated on 15 June.

Late-Gothic depiction of Mary. A part of a relief depicting the “Child Worshipping” scene.

The stern facial expression of a saint looking in front of him is adorned by luxuriant, whirling, slightly longer hair, a moustache and a shorter beard. In the cheeks, his face grows thinner. In his left hand, he is holding a book, his right arm is bent, his right hand is half closed as if he had been holding something else (not preserved). The nuanced statue stands on a low semi-circular base, with the left leg forward. The figure is barefoot and is wearing a robe. The lower part of the garment is painted with floral clover-, dandelion- and tulip-like ornaments. At the back, the statue was hollowed out.

Rigid figure of a saint with smooth hair and a scruffy beard with a moustache. The saint is wearing a robe, fastened under its girdle, and barefoot. His right leg is slightly bent and pushed forward. The status stands on a semi-circular, low base.

A saint with dark hair, a beard and moustache. His head is turned to the left. In his right hand, he is holding a book, the left arm is bent, the left hand is semi-closed. He might have held another attribute in the left hand in the past. The statue standing on an almost perpendicular base with a front profile, is surrounded by a gilded robe, the left leg is bent and slightly pushed forward. The figure is barefoot.

An S-shaped statue with a gentle-looking face, slightly turned to the right. The saint is adorned by a dark moustache, beard and hair. In his left hand, he is holding a book, his right is extended forwards. His right hand is semi-closed (he might have held something in his hands in the past). His right leg is slightly bent and pushed forward. The saint is wearing a robe, the entire statue is gilded. The right hand was made later.

The statue of Margaret the Virgin was made in the 14^th century. The saint is wearing a fastened robe. The robe is falling over her left hand and is folding on the floor. Below the left arm, bent at the elbow and raised, there is a preserved fragment of a dragon – the saint’s attribute.

St Margaret or Marina in Greek, is one of the Fourteen Holy Helpers and one of the Three Holy Virgins, along with Sts Barbara and Catherine. The saint is depicted with a smiling face and defeated dragon at her feet. St Margaret of Antioch is a patron-saint of peasants, virgins and nurses; her feast is celebrated on 20 July.

Mary forms part of the Crucifixion composition. In terms of the human form treatment method and drapery, this belongs to high-quality Baroque works of art made by a workshop of a master from Lower Carniola (Dolenjska)-Lower Sava Valley (Posavje), rendering it even more precious.

St. Roch was born around 1295 (?) in Montpellier, France. He also died there in 1327. Centuries ago, he was considered one of the most important patron saints against the Plague due to his wound healing gift. He healed innumerable victims of the Plague only with the sign of the Cross. Even though there are no historically attested traditions on the life of this well-known pilgrim, he is one of the most popular and worshipped saints today. St. Roch, who is also the patron saint of Venice, Montpellier and Parma, prisoners, farmers, art dealers, doctors, surgeons, pharmacists, is worshipped on his feast day held on 16 August.

Mary, wearing a red dress and covered with a blue coat, is sitting on her throne. Her downcast eyes are staring at the beholder that once stood below the alter in the chapel of the Klevevž Castle. In her arms, she is holding a standing naked Jesus, blessing us with his right hand and holding the Earth in his left.

A figure of the young saint in a gilded dress and robe. Her right hand is on her chest, whereas her extended left hand is holding a plate with cut-off breasts (attribute). The saint is standing on a low square-shaped base.

The full-length statue of the bearded saint looking up is standing on a rectangular base. The saint is wearing a Roman soldier armour and boots and a feathered helmet on his head. He is wearing a robe extending from his soldiers to the floor. His attributes are long gone. Originating from the Draškovec Castle close to Šentjernej in Lower Carniola.

The full-length figure of the saint is standing on a low semi-circular base. The saint is bearded and has got long wavy hair. He is wearing boots, a blue-red robe with a beige mozzetta and two shells on the shoulders.

The bearded and long-haired saint is depicted in full length. He is standing barefoot on a low base. He is wearing a tunic and robe. There is an X-shaped cross behind him that the saint is holding with his right hand. He is pushing his left arm away.
 

The king and priest Melchizedek (Genesis 14:18, Psalm 110) is depicted as a bearded man with a turban on his head and in priest vestments. In his right hand, he is holding a book, on which there are three loaves of bread, the left arm has been lost or its lower part starting from the elbow is missing. The statue forming part of a larger “Holy Kin” composition allegedly originating from an old altar of St. Anne from Gradišče above Stična, belongs to the commissioning environment of the Abbot of Stična, Jakob Reinprecht (who served as the abbot between 1603 and 1626). Pictured first from the left.

Wooden statue of a High Priest, a bearded man with a mitre on his head, wearing priest vestments and holding a censer in his hands.

The statue forming part of a larger “Holy Kin” composition allegedly originating from an old altar of St. Anne from Gradišče above Stična, belongs to the commissioning environment of the Abbot of Stična, Jakob Reinprecht (who served as the abbot between 1603 and 1626).Pictured first from the right.

St. Anne Selbdritt is holding little Baby Jesus in her arms and Mary as a little girl in her left arm. The statue forming part of a larger “Holy Kin” composition allegedly originating from an old altar of St. Anne from Gradišče above Stična, belongs to the commissioning environment of the Abbot of Stična, Jakob Reinprecht (who served as the abbot between 1603 and 1626). In the photo in the middle.

The small statue of St. Therese of the Child Jesus stands on a narrow round base. In her hands, the saint is holding a crucifix, and a plait of flowers is falling on the floor over her them.

This figure of the barefoot apostle stands on a round base, the name of the saint is provided on the front side, and, on the back side, the name of the sculptor and year of creation. The saint is holding his tools (a pilgrim’s staff?) with two strong hands, leaning over his right shoulder.

A wooden polychrome statue of a standing child (Isaac), from the Biblical scene of Abraham sacrificing Isaac (1 Moses 22:1-19). The statue, which is said to belong to the old altar of St. Anne from Gradišče above Stična, belongs to the commissioning environment of the Abbot of Stična, Jakob Reinprecht (who served as the abbot between 1603 and 1626). Pictured third from the left.

A wooden statue of Abraham forms part of a statutory depiction of the Biblical story of Abraham’s sacrifice of his soon Isaac to God (1 Moses 22:1-19). The statue, which is said to belong to the old altar of St. Anne from Gradišče above Stična, belongs to the commissioning environment of the Abbot of Stična, Jakob Reinprecht (who served as the abbot between 1603 and 1626). Pictured second from the left.

A wooden statue of St. Joachim without attributes, the saint’s shoulders are covered with a robe, he is wearing a double-roped belt with a bow. On his head, he is wearing a turban with a crown? He is wearing jackboots.
The statue, which is said to belong to the old altar of St. Anne from Gradišče above Stična, belongs to the commissioning environment of the Abbot of Stična, Jakob Reinprecht (who served as the abbot between 1603 and 1626).Pictured third from the right.

A wooden statue of a standing bearded figure without attributes. The saint has got a prominent, luxuriant, wavy beard and a robe all the way down to his ankles.

The statue, which is said to belong to the old altar of St. Anne from Gradišče above Stična, belongs to the commissioning environment of the Abbot of Stična, Jakob Reinprecht (who served as the abbot between 1603 and 1626). Pictured second from the right.

One of the several statues of the former main altar in the Ursuline Church in Škofja Loka. The statue is one of the seven preserved Baroque sculptures (six of which are preserved by our museum), made by the sculptor Peter Žiwobski of Polish origin in the second half of the 18^th century. Their original iconography can no longer be fully read, as the Ursulines added names of Ursuline female and male saints following the dissolution of the monastery of the nuns of Poor Clara.

One of the several statues of the former main altar in the Ursuline Church in Škofja Loka. The statue is one of the seven preserved Baroque sculptures (six of which are preserved by our museum), made by the sculptor Peter Žiwobski of Polish origin in the second half of the 18^th century. Their original iconography can no longer be fully read, as the Ursulines added names of Ursuline female and male saints following the dissolution of the monastery of the nuns of Poor Clara.

One of the several statues of the former main altar in the Ursuline Church in Škofja Loka. The statue is one of the seven preserved Baroque sculptures (six of which are preserved by our museum), made by the sculptor Peter Žiwobski of Polish origin in the second half of the 18^th century. Their original iconography can no longer be fully read, as the Ursulines added names of Ursuline female and male saints following the dissolution of the monastery of the nuns of Poor Clara.

In a small cupboard under a lambrequin canopy, there is a wooden depiction of the Virgin Mary of Mariazell, widespread throughout the Austrian monarchy. The inscriptions in the toners indicate that the miraculous depiction of the Virgin Mary of Mariazell had touched the original and had been blessed next to it.

One of the several statues of the former main altar in the Ursuline Church in Škofja Loka. The statue is one of the seven preserved Baroque sculptures (six of which are preserved by our museum), made by the sculptor Peter Žiwobski of Polish origin in the second half of the 18^th century. Their original iconography can no longer be fully read, as the Ursulines added names of Ursuline female and male saints following the dissolution of the monastery of the nuns of Poor Clara.

One of the several statues of the former main altar in the Ursuline Church in Škofja Loka. The statue is one of the seven preserved Baroque sculptures (six of which are preserved by our museum), made by the sculptor Peter Žiwobski of Polish origin in the second half of the 18^th century. Their original iconography can no longer be fully read, as the Ursulines added names of Ursuline female and male saints following the dissolution of the monastery of the nuns of Poor Clara.

One of the several statues of the former main altar in the Ursuline Church in Škofja Loka. The statue is one of the seven preserved Baroque sculptures (six of which are preserved by our museum), made by the sculptor Peter Žiwobski of Polish origin in the second half of the 18^th century. Their original iconography can no longer be fully read, as the Ursulines added names of Ursuline female and male saints following the dissolution of the monastery of the nuns of Poor Clara.

A wooden polychrome statue. Iconographically Central European, Alpine statue, Mediterranean in style. Mary is standing and holding Jesus’ hands with her left hand.