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The painting shows the arrival of St Cyril and St Methodius in Velehrad in 863. There they were accepted by Moravian Prince Rastislav and Prince Miloslav. The main protagonists stand in front of the castle walls. The arrival of holy brothers in Velehrad is accompanied by a crowd of people. Prince Rastislav is wearing a luxurious red coat and prince's crown on his head. Behind him are the Princess, the nobility and the army. The painting was painted in 1863 to celebrate the 1000^th anniversary of the arrival of St Cyril and St Methodius among the Slavs.

The draft for the embroidered emblem shows Mary, Mother of Jesus. Both protagonists are portrayed in a circle in which Mary is bent over a child. The draft, which we keep in the museum, is the only one of a series of studies and drafts for the coat made by the painter Matej Meltikovič in 2006. The collection also keeps an example of the embroidered motif on the fabric. Signed right below: 06 MM.

The painting of Mary, mother of Jesus. It is a realistic representation of the mother with the child in her lap. A woman is dressed in a gray dress with a wide skirt and has a head covered with a spatula. Figures are placed in the nature. The picture is very interesting, since Albert Sirk was mainly painting sea scenes. The image is marked left below: A. Sirk / 1939.

The head of the Christ is painted frontally. Jesus has an open mouth and blistered eyes. He's wearing a crown with thorns on his head. Signature right below: Slavko P.g.33.

The painting was probably painted for the Jesuit congregation of Jesuits of Mary's immaculate conception and is a quality Baroque work.

Contemporary visual representation of the Stations of the Cross (VII Station) after Meditation by the Prague Archbishop and Cardinal Msgr. Miroslava Vlka. The work is unique due to the technique of production in tempered glass.

The painting is a quality artwork by the son of the famous Carniolan painter Matija Bradaška (1852-1915), who together with his brother Anton took over his father's painting workshop. Matija Bradashka Jr. painted numerous chapels, emblems and other sacred objects, especially before the Second World War. Signature and date are left below: Lepold Leyer pinx./cop. MBradaška 8./3. 1929.

Painting on a glass in expressive red tones. Signature is on the left below: F.Kralj.

Chromolithography depicting the Sacred Heart of Jesus and herbal decoration.

Chromolithography depicting the Immaculate Heart of Mary and herbal decoration.

The color study and proposal for the production of stained glass windows for the pilgrimage church on Ptujska gora at a scale of 1:10 is an exceptional witness to the creation of a work of art from conceptual design, search for correct solutions to final realization in the sacral space. Stained glass windows on Ptujska gora, made on the basis of these studies, occupy a total area of ​​more than one hundred square meters.

The artwork shows those stylistic features that place the flag in Herrlein's oeuvre. This painting is one of the earlier works, at a time when his painting production is of higher quality compared to later works. This work also has cultural and historical significance, as these products were exposed to more difficult conditions, so there are only a few left from the Baroque period.

The painting is interesting for the collection because of the motif and especially the inscription on the picture frame: “Saint Valentine, true messenger of faith, mighty intercessor in heaven. Dear St Valentine, he protects us from religious divisions. Matija Bradaška (1852-1915) is one of the established artists in Carniola in the late 19th century.

The picture partially shows a rider on a sparrow with a baton. On the right are Roman soldiers lifting the cross under which Jesus collapsed to the ground.To the right, a hill overgrown with bushes and in the distance, according to the graphics, a city view with fantasy domes.The head of Christ with disheveled hair and a gentle expression in this image does not follow the pattern, but the painter’s otherwise facial type.Signature on the back left bottom:Io: Val: Metzinger/Sabaud: Pinxit/Labaci. 

The motif of the painting is a playful boast of the Pope, the Emperor and the farmer before God.In the picture we see a farmer kneeling in a field and talking to God. To his right is a reaper at work. Above it is the text:O Gott wenn du nicht willst und ich nicht Thät ihr beyde nicht zu Essen hät. In the upper left corner is an image of the Pope on the throne, saying:Ich mit meine Ehre und  Lehre habe ich so viele Tausend Menschen bekehrt.In the right corner sits the emperor on the throne and says:Ich mit meiner Lehre und Macht habe so viele Länder und Leute an mich gebracht.

St. Anthony of Padua in his admiral’s uniform as the liberator and defender of the Alicante coastal fortress in Spain in 1732. The artistically unassuming work of art does not belong to our iconographic heritage. St. Anthony of Padua was born in 1195 to a wealthy noble family in Lisbon. He is buried at the church of St Anthony in Padua and is regarded one of the most illustrious Catholics. St. Anthony of Padua is the patron-saint of Padua, women, children, the poor, travellers, bakers and lost things; his feast is celebrated on 13 June.

The Holy Mother is sitting next to the Child, sleeping on the cross. The instruments of the Passion of the Christ are foreboding Jesus’ suffering and death. A solid work of art with an applied stucco trim on Mary’s coat. The work depicts Our Lady of Grace spread via graphics, most likely in the environment of nunneries in Central Europe.

Our Lady of Sorrows with Her Head Hung Low, an imitator of de Morales; Luis de Morales was a Spanish painter, around 1510/20–1586, whose works of art were spread via graphics. 

Bandero: The Baptism of Jesus, Mary and Jesus are presenting St. Dominic and St. Catherine of Siena with rosaries. A common depiction of worshipping the Holy Rosary, canonised during the Baroque Era, showing Mary and Jesus presenting two Dominican saints with rosaries.

The “Worshipping the Holy Mother” painting is a rarity in Zajc’s opus. In terms of composition, it is divided into a lower and upper part. The lower part, depicting the Earth, shows six full-body angels gifting Mary with flower wreaths. The axis pointing towards the horizon is highlighted by a flower-filled carpet. The upper part, depicting Heaven, shows Mary with a halo and Baby Jesus in her arms. Putti worshipping them are lined around them in concentric circles. Even though the figures were painted somewhat clumsily, the dark-brown-toned painting seems harmonious.

St. Mary Magdalene was the first witness to see the Resurrected Jesus, and the first messenger to proclaim the Resurrection of the Lord to the apostles. Her feast day is on 22 July.

The saint is kneeling on a cloud on the right side, extending his right hand towards God, before him, there is a putto with a book. With his left hand, he is pointing at a group of surprised country people (7 in total) on a field. The male and female farmers are wearing interesting folk costumes. To the right of the group, an angel is ploughing using an ox cart, the saint is kneeling next to it. Wine hills with vineyard cottages are spread out above them, to the left of the group of people, local farm animals are grazing, above them, there is a fortified small church on a low hill. In the lower right corner, there is a wheeled piece of farming equipment.

St Isidore the Labourer was born around 1070 in Madrid and died on 15 May 1130.He was depicted in a peasant's outfit and with farm tools. He is often represented praying in front of the cross, while an angel is working in the field.

St Isidore is the patron-saint of Madrid, peasants and good harvests; he protects against draught and brings rain, and his feast is celebrated on 15 May.

DONATED BY SLOVENE ACADEMY MEMBER Prof. VINKO KAMBIČ AND HIS WIFE VILMA BUKOVEC-KAMBIČ (February 2004)

Two Roman martyrs wearing the armour of Roman soldiers are kneeling on a cloud and facing each other. They are looking up at the sky, where three putti and the triangular Eye of Providence are floating. Lightning is hitting the ground from the cloud, and hail is falling on the wine hills. There is a fortified church on a hill to the left.

The veneration of Sts John and Paul became popular during the Baroque period. The two saints were also venerated in Slovenia. A church consecrated to them was built in Dobrovlje in Styria as early as the 15^th century. In Homec, the villagers had two candles blessed in their names, which they lit during storms while saying the Lord's Prayer twice for protection from hail. They were also venerated as protectors against storms in Bela Krajina and Tolmin. Although once widely venerated, these two brothers and Roman martyrs are now almost forgotten.

Sts John and Paul are protectors against storms; their feast is celebrated on 26^th June.

DONATED BY SLOVENE ACADEMY MEMBER Prof. VINKO KAMBIČ AND HIS WIFE VILMA BUKOVEC-KAMBIČ (February 2004)

The Madonna and Child are depicted in a natural environment. Both figures are holding some kind of vessel. Mary is wearing a traditional blue-red robe.

The Holy Family is a signed work of art by one of the most prominent Slovenian painters of the 19^th century, Mihael Stroy (Stroj). The painter, active during Classicism and Romanticism, signed his name in the middle of the painting, at the height of a small angel face.

St. Joseph is embracing Baby Jesus with a lily in his right hand, offering it to the baby. The baby in unwrapped nappies is placed on a red covered table and is holding a small cross in his hands. Only a double-column base is painted behind Joseph. The veneration of St Joseph of Nazareth, the husband of the Blessed Virgin and foster father of Jesus, has a long history and reached its peak in 1870, when Pope Pius IX declared the Holy Patriarch Joseph patron of the Catholic Church. St Joseph is the protector of labourers and married couples; his feast is celebrated on 19 March.

According to the legend, Cecilia was born in the Roman patrician family of Cecilians. She lived in the first half of the 3^rd century and was martyred in 230. In the late Middle Ages St. Cecilia began to be venerated as the patronness of music. During her wedding ceremony, when the organ played, she reportedly sang only to God in her heart. St. Cecilia is mostly depicted playing a large organ and singing. In some depictions she is also surrounded by other instruments. St. Cecilia is a patron-saint of musicians; her feast-day is celebrated on 22 November.

Mary, Consoler of the Afflicted, is one of the types of depictions of Our Lady of Grace, whose primary purpose is to foster piety. The motif on the painting is also known as the “Holy Mother of the Capuchin Order”, as the worship of this depiction was spread by the Capuchin order. The painting might have been commissioned by the Capuchin or Discalceate Order in Ljubljana. 

Leopold Kozlevčar (1/11/1904, Šmartno pri Litiji–18/12/1988, Stična) lived in Slovenska vas close to Mirna. He developed a fascination for collecting art at a young age and collected works of art in both Slovenia and abroad. From 1985 to his death, he lived in the Stična Monastery, where he also had the majority of his cultural heritage collection, later left to the Archdiocese of Ljubljana, brought. His collection includes Biedermeier style furniture (mostly from the Hmeljnik Castle in Lower Carniola), statues (Baroque and from the 20^th century), paintings made by prominent Slovenian artists (F. Bergant, L. Layer, M. Stroy, I, Grohar, M. Sedej, Šubic, F. K. Zajc), stained glass (more than 80 works of art), liturgical vessels, early 19^th century clocks, his numismatic collection, his collection of glass and china artisan products and ethnological artefacts. Leopold Kozlevčar is buried in the Stična cemetery.

The Holy Spirit’s Bride is a Baroque painting which might prove to be the most exciting of all iconographically similar types of the Holy Spirit’s Bride. An unknown painter namely dedicated himself to the effects of the natural light radiated by the Holy Spirit and lighting Mary’s face from below in a peculiarly naturalistic way. This iconographic type was cultivated by the Ursulines.

Author unknown, solid artisan work. St. Mary Magdalene, Penitent, is kneeling next to a ridge with her arms folded. A crucifix and skull can be seen in front of her. A church stands in the background, on the left side of the work of art.

The pope martyr could be the 4^th pope, Clement, who was drowned in Crimea. He is wearing a red mozzetta. He is wearing a papal red camauro on his head. He is holding a palm tree in his left hand. A weight or stone (?) is anchored to his neck.
 

Originating from the Baraga Mansion in Trebnje.
 

The cardinal is kneeling in front of an open book and a crucifix. To the left, there are his cardinal insignia. A murderer is seen in the background.

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.

The heart of the waist-deep depiction of Mary is stabbed by a sword. The sorrowful and contemplative figure is looking in front of her. She is holding a white cloth in her hands. A simple, but efficient depiction of Our Lady of Sorrows. The creases on her clothing are painted lightly, the strokes of the brush are almost paste-like.

John of Nepomuk was born around 1350 in Bohemia. As a very educated and versatile man, he was appointed vicar general of Prague archdiocese in 1389. He died in 1393 when the king had him thrown into the river Vltava. St. John of Nepomuk is a patron-saint of bridges, ferrymen, millers and Bohemia; his feast is celebrated on 16 May.

St. Francis Xavier was born in 1506 in Spain in a noble family that belonged to the high aristocracy of Navarre. During his studies in Paris he met St. Ignatius of Loyola, who later founded the Jesuit Order. Francis helped Ignatius form the Order and later became one of its greatest missionaries, spreading the faith in India and Japan. He is the founder of the Far East missions. He died in 1522 on the Sancian island in front of the Chinese town Canton. St. Francis Xavier is the patron-saint of India and missionaries; his feast is celebrated on 3 December.

In the Baroque Era, Our Lady of Good Counsel was one of the most popular depictions of Our Lady of Grace. This was helped by the deep feeling of the motif, in which the Infant Jesus is trustingly cuddling with his mother Mary, by the legend on the creation of the original depiction and specific church hymns. Ascribed to Fortunat Bergant (1721-1769).  

A modest work imitating Murillo.

St. Valentine healing a patient suffering from epilepsy.

The patron saint of sailors, rafters, and fishermen has looked up at the sky. He is sitting on a cloud and is depicted in an episcopal vestment. The two small angels to his right are holding his book with three golden spheres and a crosier. Below, there is a motif of a boat with a torn sail and frightened sailors on stormy seas. The top of the painting is bell-shaped. The motif is reminiscent of the paintings of St. Nicholas in the Franciscan church in Karlovec dating to around 1743 and of St. Nicholas in Sodražica dated to the early 1750s. A copy of the Lipoglav painting can be found in the parish church of the Šentvid District in Ljubljana.

The painting on canvas depicts the Biblical story of David and Goliath. At the first light of sunrise, a vast landscape with a city in the background opens up, simultaneously showing various scenes from the life of the Israeli king David. In the middle, the painting depicts the duel between him and the Philistine Goliath; on the right, you can see David before King Saul; and, on the left, the victorious David is holding Goliath’s severed head in his hand. All figures are dressed according to traditional fashion of the time in which the painting was created. The soldiers are equipped with battle-axes. The painting is enriched by a wide array of interesting cultural and historic details. This exquisite work of art, with all these mementoes and the painting technique, still belongs to the 16^th century given local artistic developments.

The painting depicts St. Sebastian, tied to a tree, whose beautiful young body has been pierced by arrows. This high-quality work of art belongs to the Northern painting sphere. St. Sebastian, who was born in the 3^rd century in Milan, soon began to be venerated as a Holy Helper against plagues, because according to folk tradition, an illness strikes just as unexpectedly as a secretly shot arrow. Many societies founded to offer assistance during epidemics were named after him. St. Sebastian is a patron-saint of the dying; his feast is celebrated on 20 January.

The granddaughter is greeting Grandma or presenting her with a basket of flowers in the presence of her Grandpa and parents. A representative sentimental work, imitating Dutch painters of the 17^th century.

A high-quality copy of the Ecce Homo motif subject to Rembrandt’s 1636 etching. The motif depicts Jesus’s trial before Pontius Pilate and the crowd demanding his death.

Mary is sitting under the cross with folded arms. Her chest is stabbed by a sword. From the right, she is embraced and consoled by Jesus’s disciple John. There are three angel heads above them.

The motif of the death of St. Joseph is depicted in a toner. The dying man, lying on his bed and covered with a yellow blanket, is reaching out to Mary with his left hand. Mary is holding a small white cloth in her right hand, drying her tears. A young Jesus pointing upwards with his right index finger is leaning against the headboard. With his left hand, he is holding Joseph’s right hand. In front, there is a small angel lighting a death lamp.

St. Bernard kneeling before an angel with the instrument’s of Jesus’s passion. The erect painting with a semi-circular top depicting the saint in a white monk robe pointing to the inscribed book on the floor with his right hand. The saint is looking up at an angel which has floated down from Heaven on the clouds with the cross and other instruments of Jesus’s martyrdom.

The Martyrdom of a Soldier from Antiquity takes place in a landscape where the executioners have dug out a pit, into which they placed a soldier and covered him with quicklime from the waist down. One of them is pouring a bucket of water on the quicklime. In the background, you can see a landscape with an Antiquity-like architecture, whereas, on the far left, the martyr’s armour is stowed.

The painting is a high-quality copy of Luka Giordano’s work of art.

The scene depicts the sentencing of a soldier to torture by the emperor. The painting serves as a pair to the painting depicting the martyr soldier from Antiquity tortured with quicklime.

The conceptual painting originates from the motif: The Holy Family on its way to Bethlehem, when Mary and Joseph find the 12-year-old Jesus in a temple.

The motif depicts a larger figure with a sitting, exhausted Christ, next to whom two angels holding large candles are kneeling. In the upper left corner, there is the coat-of-arms of the Lamberg Dynasty marked 1616.

A waist-up portrait of the Abbot of Stična, Anthony Baron Gallenfels (1688–1719). To the right of the abbot, there is the coat-of-arms of the Abbey, consisting of the Stična and dynasty coat-of-arms. Below it, there is an inscription in Latin. Back side: an inscription in German on Abbot Anthony being a wonderful and construction-loving gentleman. The abbot acquired several estates/castles and made sure that the temporalia discontinued upon his death were to be restored to the monastery under a new abbot. He built a refectory that he had ornamented by the Tyrol-based painter Ferdinand Steiner with stucco, frescoes, and portraits of Leopold III in Viride (Visconti). He expanded the library. His tombstone can be found in the transept of the basilica.

A waste-up portrait of the Abbot of Stična, Ludvik Baron Raumschüssl (1680–1687). To the right of the abbot, there is the coat-of-arms of the Abbey, consisting of the Stična and dynasty coat-of-arms. Below it, there is an inscription in Latin. Back side: inscription in German stating “Baron Luwid Raumbschiessl born in Kolovrat” in Upper Carniola. Former army officer, died on 5 December 1687 / President of the Permanent Board.” He built a basement/granary that cost 30000 f excluding labour costs. The construction began in 1683 and finished in 1686. His tombstone can be found in the transept of the basilica.

An oval waist-up portrait of the pope. The pope is wearing a richly embroidered cope, over which there is a pallium. He is wearing a white zucchetto. He is standing or sitting behind his desk and writing on parchment with a goose feather. The Holy Spirit Depicted as a Dove Is Bringing a Host The painting serves as a pair with the portrait of an unknown pope (item number 1998/2010). 

The waist-up portrait of a pope is pointing to an open foliant. There is a mitre to the right behind him. The pope is wearing a white mozzetta. His dignity is further confirmed by a pallium. The painting serves as a pair with the portrait of the Pope Gregory I. the Great (item number 1997/2010).

On the right, the saint is kneeling in a white monk robe. With his right arm, he is leaning on the table with an open small book. In his left hand, he is holding the instruments of Christ’s martyrdom. He is looking up at the cloud where he sees Mary and Jesus, surrounded by angels.

The saint with a halo and in a white habit is embracing the Crucified. From the right, he is accompanied by a small angel, from the left, by small angel heads.

Six Cistercians who have swapped their knightly attire (the helmets and swords under the table) for a monastic life. They are accompanied by the Holy Mother above the clouds.

Bl. Mark of Aviano (1631–1699). In his role as a trusted counsellor to the Emperor Leopold I and a papal delegate, he was heavily involved in liberating Vienna and the Christian West from the Turkish siege. He managed to bring about the reconciliation of disputing princes of the liberation army, thus accelerating the liberation of the city under a severe siege. With his preaching and presence during the battle on 12/09/1683, he inspired courage and determination in the soldiers.

The painting is a copy of the painting found in the parish church of St. Giles in Klagenfurt. During the plague in Klagenfurt in 1749, a novena was performed before the painting. After it, the incidence of the plague began to fall. During the following year, the parish introduced an annual devotion to the Holy Face of the Christ. Many wonders and answered prayers have been proven since. In the past, many Slovenians also went on a pilgrimage to this church. The motif is also called the Sacred Head or the Most Sacred Head of Jesus, Crowned with Thorns

A waist-up portrait of the Abbot of Stična, Alexander Baron Engelshaus (1719–1734). To the right of the abbot, there is the coat-of-arms of the Abbey, consisting of the Stična and dynasty coat-of-arms. Back side: inscription in German stating “Alexander Baron Engelshaus, abbot between 1719 and 1734”. His tombstone can be found in the transept of the church.

The Old Testament motif depicts Rebecca bidding farewell to her family in the midst of developments in an Antiquity ambient.

Abbot Kostelec, PhD (1879-1963) was the first abbot of Slovenian origin in Stična between 1924 and 1963.

The dying saint is lying on a straw mattress under palm branch eaves. In his right hand, he is holding a crucifix, and, in his left, a book and a rosary. A black man is pressing himself close to him, above him, there is an Asian man with open arms, wearing traditional garments. In the upper left corner, there is a shiny IHS monogram. In the back, there is a ship at sea. Austrian painters’ circle.

St. Francis Xavier, one of the co-founders of the Society of Jesus (Jesuits), is the patron saint of missionaries. He died of fever on 2 December 1552 on the Island of Sancian, at the doorstep of China. He was only 46 years old.

The Prince-Bishop of Ljubljana, Anton Aloys Wolf (1824–59), is depicted waist-up against a dark neutral background. His body is turned slightly to the right and he is looking at the beholder. He is wearing a cassock and a white stoat fur mozzetto with black slacks. Below the neck, he is wearing a wide black cloth rabat, embroidered with a white ribbon. A pectoral cross is hanging on a gold necklace.
The painting is of average quality and imitates similar waist-up portraits of the Prince-Bishop Wolf.

The saint is depicted as a noble woman with a crown on her head. She is sitting next to a positive organ. On the left side of the painting, behind the organ, there is an angel playing on a Baroque guitar.

An oval portrait of the standing bearded saint, wearing priest vestments and a mozzetta over his shoulders. Around his neck, you can see pectorals and a stole that he is holding with both hands.

The saint is lying on a bed with a cross in his folded arms.

There is an inscription on the back: Geweicht und angeryrt bei dem h. F. Xaverii zu Oberburg / in der Untersteiermark (1767, am 5ten December). That the painting had been sanctified and touched at St. F. Xavier in Gornji Grad in the lower part of Styria on 5 December 1767.

A Late Baroque depiction of St. Ignatius, standing on a ‘panoply’ (gun barrels, swords, spears, battle-axes, etc.), placed on the floor, raising the flag of self-overcoming, all the while playful small angels are celebrating his victory, is an iconographic oddity.

The saint is depicted in a dark colour against a dark background, with a halo around his head, holding a cross with both hands, looking at the Crucified. In the right lower corner, there is a skull, an open book next to it.

An almost identical painting, 92 x 81 cm, signed and dated (1857) by Mihael Stroj, can be found in the Ljubljana Cathedral.

St. Leonard of Port Maurice (1676-1751), a monk of an offshoot of the Reformati branch of the Jesuits (Riformella), was one of the main promoters of worshipping Mary and the piety of the Stations of the Cross. He served as a missionary in Northern and Central Italy for almost fifty years and was an extremely popular preacher among the population.

The young saint is depicted in his profile. He is wearing a crucifix in his hands. There are a book and lily on the covered table. Oval canvas in a contemporary frame.

Christ the Martyr is depicted from the front. He is wearing a red coat with a crown of thorns on his head. His hands are tied. He is holding a reed in his hand.

The saint is wearing the black vestment of the nuns of Poor Clara in a room with black-and-white tiles. In her left hand, she is holding a pastorale, and, in her right hand, a monstrance and Host. An impressive painting of St. Clara whose design of space and the colouring continues to indicate Mannerist features, used to hang in the room of the abbess of the nuns of Poor Clara in Škofja Loka. (A. Lavrič, 2019).

On the right, the saint is kneeling and holding a white tablecloth in his extended arms. He is unfolding it in front of Jesus in Mary’s arms. In her right hand, Mary is holding a lily, and, in her left hand, the Child. From the left, an angel is rising to Mary. A putto is floating to the right of her head. The scene is invigorated by a curtain falling behind the saint’s back.

The saint is kneeling on a footstool in a room. He is painted in an ochre and blue drapery. He is holding a lily in his left hand. In front of him, the Child is sitting on a small table and cushion. With his right hand, he is pointing upwards, and, with his left hand, he is holding the globus cruciger (globe) on his knee. In the left lower corner, there is the signature of the Baroque painter Fayenz.
 

The Madonna with Child is holding a rose (Mary’s symbol) in her left hand. Following this original canvas, a copy used for the altar area furnishings in the Santa Maria Maggiore Chapel on Kredarica was made.

The bare-chested saint is kneeling in a cauldron on burning hot fire. With folded arms, he is raptly looking up. In the past, the painting adorned the attic of the altar in the church on the Križna Mountain (Križna gora) above Lož, which was later replaced by a copy.

St. Florian is wearing the armour of a Roman soldier on the clouds with folded hands and looking up. The figure is adorned by a red robe and a cross flag. He is surrounded by putti; to the left, a small angel is pouring water out of a bucket on a burning building below him.