| Abstract: | The Church of St. Joseph above Preserje was noted for being the first church in Slovenia
designed based on an elongated octagon, marking a significant architectural
evolution from the Slovenian ecclesiastical structures of the 17th and 18th centuries.
However, the history of its wooden altar has not yet been thoroughly examined in art
historical research.
St. Joseph’s Church, a subsidiary of the Preserje parish, was under the patronage of
the Carthusian monastery in Bistra from the late 14th century until the mid-18th
century. The church’s construction was completed by 1659, with its dedication taking
place in 1671.
While the church has maintained its exterior form throughout history, its interior has
undergone significant changes, particularly in the arrangement of its altars. Discussions
about the transfer of altar pieces from St. Joseph’s to the parish church of St. Vitus
reveal a complex history. It was initially believed that the main altar of St. Vitus
came from St. Joseph’s. However, further research clarified that only one or both side
altars, likely from the dissolved Carthusian monastery, were moved first to St. Joseph’s
and then to St. Vitus in 1830.
An analysis of historical records from the visitation reports by Bishop Anton Alojzij
Wolf indicated that the main marble altar of St. Vitus was consecrated in 1830 and indeed
sourced from St. Joseph’s Church, but it was not the main altar as until recently
believed. It was probably a side altar from St. Joseph’s Church, and at the same time,
a new wooden altar was placed as the main altar in this church.
Despite these clarifications, questions about the size and origin of the main altar of St.
Joseph remain. A stylistic comparison links the wooden altar from St. Joseph’s Church
to the altar architecture in the Church of the Assumption of Mary in Nova Štifta near
Ribnica, suggesting a similar design featuring twisted columns entwined with vine
motifs. Fe similarities in ornamentation and architectural elements suggest that the
altars were crafted around the same period, between 1670 and 1690.
Historical data about the construction of the Nova Štifta Church indicates a prolonged
and complex building process, with significant contributions from local patrons and
clergy members. Fe stylistic and ornamental features of the sculptures from the altars
show possible attribution to sculptor Avguštin Ferfilla from Ljubljana or his workshop.
Further comparisons with other works attributed to the Ferfilla workshop reveal consistent
stylistic traits in the sculpture and ornamentation. This connection is crucial
in understanding the provenance of St. Joseph’s altar, suggesting it might have been
one of the last works by Avguštin Ferfilla or his workshop. The presence of similar stylistic
features in other regional altars supports this attribution.
The potential origin of St. Joseph’s altar from Nova Štifta’s St. Joseph Chapel aligns
with historical mentions of an altar dedicated to St. Joseph that disappeared around
the same time as the new altar in St. Joseph’s Church above Preserje appeared. Economic
difficulties in Nova Štifta and changes in chapel use could have led to the altar’s
relocation to Preserje. Another potential location could be St. Joseph’s Chapel in the
Carthusian monastery in Bistra.
In conclusion, the detailed examination of historical records, stylistic analysis, and
comparative study with regional altars highlight the complex provenance of the wooden
altar at St. Joseph’s above Preserje. These findings advance our understanding of
the artistic and cultural exchanges in 17th-century Slovenian ecclesiastical art and
underscore the need for further research to resolve remaining questions about the altar’s
origin and history.
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