Čakovec, crkva sv. Nikole biskupa

Čakovec, crkva sv. Nikole biskupa / Glavni oltar i skulptura arkanđela Mihaela
Čakovec, Church of St. Nicholas the Bishop / High Altar and sculpture of Archangel Michael

Čakovec, crkva sv. Nikole biskupa

Glavni oltar i skulptura arkanđela Mihaela

Istraživanje baštine kiparske obitelji Straub prove- kole biskupa franjevačke crkve u Čakovcu naru-
deno je u sklopu međunarodnog projekta Tragom čila je velika pokroviteljica umjetnosti Ana Maria
umjetnosti obitelji Straub (www.trars.eu). Uz Hr- Pignatelli, udovica posjednika Međimurja, grofa
vatski restauratorski zavod, koji je bio voditelj pro- Johanna Michaela von Althanna, 15. ožujka 1742.
jekta, u njegovoj su provedbi sudjelovali i Bavarski godine. Dvojni grb obitelji Althann-Pignatelli po-
državni zavod za zaštitu spomenika, Javni zavod stavljen je iznad oltarne slike s prikazom Bogo-
Republike Slovenije za zaštitu kulturne baštine te rodice s Djetetom i sv. Nikolom iznad vedute Ča-
Sveučilišta u Ljubljani i Grazu, uz pridružene istra- kovca iz sredine 18. stoljeća. Iznad grba je nešto
živače iz drugih baštinskih, vjerskih, znanstvenih i manja slika s prikazom Svete obitelji.
edukativnih ustanova. Projekt je sufinancirala Eu-
ropska unija programom Kreativna Europa. Oblik oltara je tradicionalan te je proporcijama
prilagođen širokoj apsidi koju ispunjava od zida do
U sklopu projekta istraženi su povijest i djela ne- zida. Na prvom su katu četiri kolos-skulpture cr-
koliko naraštaja kiparske obitelji Straub. Osobito kvenih naučitelja, dok se na drugom nalaze atlet-
je zanimljiva djelatnost petorice braće iz trećeg ske figure arkanđela te alegorije Ljubavi, Vjere i
poznatog nam naraštaja stasalog u Wiesensteigu, Nade. Skulpture se pripisuju mariborskom kiparu
koji su djelovali tijekom 18. stoljeća u nekoliko Josephu Straubu.
gradova današnje Njemačke, Austrije, Slovenije i
Hrvatske. Nakon što su im rodna sredina te oče- Ujedno je tijekom provedbe projekta Tragom
va i stričeva stolarska radionica postale skučene, umjetnosti obitelji Straub zapaženo da skulptura
braća su se otisnula u potragu za poslom prema arkanđela Mihaela s bočnog oltara Marije Pomoć-
jugu i istoku. S vremenom su postali vodeći kipari nice također nosi neka od prepoznatljivih obilježja
u nekoliko srednjoeuropskih gradova: Münchenu, istoga kipara.
Grazu, Mariboru, Bad Radkersburgu i Zagrebu.
Glavni oltar obnovio je Martin Sodič iz Štrigove
Josepha Strauba, koji se nastanio u Mariboru, da- 1871. godine, a potom ga je 1911. godine u zelen-
nas se smatra jednim od ponajboljih baroknih ki- kaste tonove prebojio Josef Obletter iz Grödena
para u drvu i kamenu u Sloveniji. Neka od svojih (Val Gardena) u Tirolu, koji je oltar također opre-
važnih djela, uključujući i jedno arhivski potvrđeno, mio i novim svetohraništem te antependijem.
napravio je baš za sakralne objekte u Hrvatskoj.
Zahtjevni konzervatorski i restauratorski radovi na
Najmlađi brat, Franz Anton Straub, živio je i radio oltaru iznimno velikih dimenzija provedeni su u su-
u Zagrebu te je, sudeći prema sačuvanim oltarima radnji Hrvatskog restauratorskog zavoda (u kojem
i propovjedaonicama, bio najplodonosniji kipar su izvedeni radovi na svim skulpturama i na obje
svojega vremena na području tadašnje Zagrebač- oltarne slike) i privatne restauratorske radionice
ke biskupije. (koja je provela radove na oltarnoj arhitekturi i de-
korativnoj plastici). Višegodišnje radove okonča-
Prema dokumentu sačuvanom u samostanskom ne 2015. godine financirali su Ministarstvo kultu-
arhivu, nacrt za monumentalni glavni oltar sv. Ni- re RH i Franjevački samostan sv. Nikole biskupa.



Čakovec, Church of St. Nicholas the Bishop

High Altar and sculpture of Archangel Michael

The international project Tracing the Art of the Straub Church in Čakovec was commissioned by Ana Ma-
Family (www.trars.eu) studied the heritage of the ria Pignatelli, a great patron of the arts and wid-
Straub family of sculptors. Croatian Conservation ow of Count Johann Michael von Althann, owner of
Institute (project leader), Bavarian State Department Međimurje, on March 15, 1742. The double coat
of Monuments and Sites, Institute for the Protection of arms of the Althann-Pignatelli family was placed
of Cultural Heritage of Slovenia, and Universities of above an altar painting portraying the Virgin and
Ljubljana and Graz participated in its implementa- Child, and St. Nicholas above the mid-18th century
tion together with associate researchers from other view of Čakovec. There is also a smaller painting
heritage, religious, scientific and educational insti- depicting the Holy Family above the coat of arms.
tutions. The project was co-funded by the Creative
Europe Programme of the European Union. The altar shape is traditional, and it was adapted
to the wide apse so it completely fills it. There are
The project explored the history and art of several four colossal sculptures of church scholars on the
generations of the Straub family. The work of five first storey of the altar, and athletic figures of arch-
brothers from the third generation that grew up in angels and allegories of Love, Faith and Hope on
Wiesensteig was particularly interesting. In the 18th the second. The sculptures are attributed to Joseph
century, they were leading sculptors in several cit- Straub, a Maribor sculptor.
ies in present-day Germany, Austria, Slovenia and
Croatia. When their birth town, and their father’s During the Tracing the Art of the Straub Family pro-
and uncle’s carpentry workshops, became too ject, it was noticed that the sculpture of Archangel
small, they set off in search of work. In time, they Michael from the side altar of Mary Help of Chris-
became leading sculptors in several cities in Cen- tians also bears some distinctive features charac-
tral Europe: Munich, Graz, Maribor, Bad Radkers- teristic for the same sculptor.
burg and Zagreb.
The high altar was renovated by Martin Sodič of
Joseph Straub, who settled in Maribor, is consid- Štrigova in 1871. In 1911, it was painted green by
ered one of the finest Baroque wood and stone Josef Obletter of Gröden (Val Garden) in Tyrol, who
sculptors in Slovenia. Some of his more important also equipped the altar with a new sanctuary and
artworks, including the one confirmed by archival antependium.
records, were made for sacral objects in Croatia.
The demanding conservation of the extremely large
The youngest brother, Franz Anton Straub, lived and altar was carried out at the Croatian Conservation
worked in Zagreb and, judging by the altars and pul- Institute (where all sculptures and both altar paint-
pits we still have today, he was the most productive ings were restored), and a private restoration work-
sculptor in the Diocese of Zagreb. shops (which carried out restoration of the altar
architecture and decorative sculptures). The work,
According to a document preserved in the monas- funded by the Ministry of Culture of the Republic of
tery archives, the design for the monumental high Croatia and the Franciscan Monastery of St. Nicho-
altar of St. Nicholas the Bishop from the Franciscan las the Bishop, was completed in 2015.



Izdavač: Hrvatski restauratorski zavod, www.h-r-z.hr / Za izdavača: dr. sc. Tajana Pleše / Stručni tim: dr. sc. Ksenija Škarić; Snježana Hodak,
dr. sc. Martina Ivanuš, Sena Kulenović, Nena Meter Kiseljak, Maja Postonjski, Vjeran Potočić, Vesna Šimičić, Ivan Vidović; Velimir Ivezić,
dr. sc. Martina Ožanić / Fotografije: Ljubo Gamulin, Jovan Kliska, Nikolina Oštarijaš, Miroslav Pavličić, Goran Tomljenović / Tekst: dr. sc. Ksenija
Škarić / Lektura: Rosanda Tometić / Prijevod: Nataša Đurđević / Grafičko oblikovanje: Ljubo Gamulin / Zagreb, rujan 2019.

Publisher: Croatian Conservation Institute, www.h-r-z.hr / For the publisher: Tajana Pleše, PhD / Expert team: Ksenija Škarić, PhD; Snježana
Hodak, Martina Ivanuš, PhD, Sena Kulenović, Nena Meter Kiseljak, Maja Postonjski, Vjeran Potočić, Vesna Šimičić, Ivan Vidović; Velimir Ivezić,
Martina Ožanić, PhD / Photos: Ljubo Gamulin, Jovan Kliska, Nikolina Oštarijaš, Miroslav Pavličić, Goran Tomljenović / Text: Ksenija Škarić, PhD /
Translation: Nataša Đurđević / Graphic design: Ljubo Gamulin / Zagreb, September 2019