Baroque renovation of the chancel in the Cathedral of St. Daniel in Celje

V zaključni seminarski nalogi so predstavljene pridobitve v prezbiteriju stolno-opatijske cerkve sv. Danijela v Celju v sklopu prenovitvenih del 18. stoletja. Po uvodnem pregledu stanja raziskav baročne predelave prezbiterija in kratkem pregledu stavbnega razvoja cerkve sv. Danijela sledi natančnejši oris cerkvenih predelav v 18. stoletju. Jedro naloge predstavljata analizi glavnih baročnih likovnih del v prezbiteriju. Gre za danes zgolj fragmentarno ohranjeno fresko z motivom Danijela v levnjaku slikarja Franca Jelovška iz leta 1742 in glavni marmornati oltar, postavljen leta 1743, ki še danes stoji v cerkvenem prezbiteriju. Seminarska naloga skuša na podlagi dostopne literature, edine znane fotografije freske, ko je bila še v celoti ohranjena, in fragmentov, ki jih danes hrani Pokrajinski muzej v Celju, opisati fresko in analizirati njeno ikonografijo ter jo umestiti v slikarjev opus. Sledi predstavitev glavnega oltarja in njegova umestitev v kontekst baročnega kiparstva na naših tleh. Na koncu so omenjeni kasnejši posegi v celjski opatijski cerkvi, ki so spreminjali podobo prezbiterija po baroku. Zlasti posegi v 19. stoletju so zabrisali njegovo baročno podobo in mu namenili neogotski izgled.In this paper, acquisitions in the chancel of St. Daniel Cathedral in Celje as part of the 18th century renovation works are presented. Following an introductory overview of the state of research on the Baroque redesign of the chancel and a short overview of the building history of the St. Daniel Cathedral, a detailed description of the church’s redesign in the 18th century is provided. The core of the paper consists of the analysis of Baroque artworks in the chancel. Namely, the now fragmented fresco painting of Daniel in the lions’ den by painter Franc Jelovšek from the year 1742 and the still existing marble high altar from the year 1743. The final paper aims to describe the fresco and its iconography and to place it in the artists oeuvre using available literature, the only preserved photograph of the fresco and fragments kept by the Celje Regional Museum. Next is the description of the main altar and its placement in the context of Baroque sculpture in Slovenia. Finally, later interventions on the Celje Cathedral are presented, which have changed the chancel’s appearance after the Baroque period. Especially the interventions from the 19th century erased its Baroque image and gave it a Neogothic appearance