Altars in the Parish Church of St. Ladislaus in Pokupsko – A Contribution to the Typology of Altar Architecture in the 18th Century

Ansambl glavnoga te bočnih oltara posvećenih sv. Mariji i sv. Josipu (1739.) u svetištu i prostoru svođenoga slavoluka župne crkve u Pokupskom, plijeni pozornost vrsnoćom umjetničke zamisli kao i neuobičajenim ikonografskim programom. Cjelina, kojoj valja pribrojiti i propovjedaonicu, te skulpture oltara Sv. Križa, dio je velike narudžbe zagrebačkoga biskupa Jurja Branjuga koji je u Pokupskom između 1736. i 1739. godine dao podići novu crkvu, posvećenu osnivaču biskupije sv. Ladislavu kralju. Oltari, djelo drvorezbarske radionice koja je pod biskupovim pokroviteljstvom djelovala na zagrebačkom Kaptolu u prvoj polovici XVIII. stoljeća, arhitektonskim rješenjima i inovativnim ornamentalnim repertoarom suvremenu produkciju sjeverozapadne Hrvatske povezuju sa srednjoeuropskom umjetničkom tradicijom, a odjek pronalaze u ostvarenjima drugih zagrebačkih umjetnika, poput Josipa Weinachta, Antuna Reinera i Antuna Franje Risnera. Ikonografski aspekti glavnoga oltara nastavak su pak specifične ikonografije sv. Ladislava kralja, razvijene u krugu kaptolskih naručitelja potkraj XVII. i početkom XVIII. stoljeća.The main and the side altars of St. Mary and St. Joseph (1739) in the sanctuary and within the vaulted triumphal arch of the parish church in Pokupsko make up a captivating ensemble, with its fine artistic concept, as well as a distinctive iconographic programme. The ensemble, which also includes a pulpit and sculptures from the Altar of the Holy Cross, is part of a large commission by the Zagreb Bishop Juraj Branjug, who had the new church in Pokupsko erected between 1736 and 1739, and dedicated to the bishopric founder, St. Ladislaus the King. The altars were executed by a woodcarving workshop that was active in the Zagreb Kaptol (Chapter) during the first half of the 18th century, under the patronage of the bishop. The altars’ architectural schemes and innovative ornamental repertoire tie the contemporary production of northwestern Croatia to the central European artistic tradition, later echoed in the works of other Zagreb artists, such as Josip Weinacht, Antun Reiner and Antun Franjo Risner. The iconographic aspects of the main altar, on the other hand, are associated with the distinctive iconography of St. Ladislaus the King, which evolved in the circle of the Kaptol commissioners in the late 17th and early 18th century