SENJ AND SAINT ANTHONY THE ABBOT IN THE PICTURES OF THE FRANKOPAN ALTAR IN OBERVELLACH

U dijelu je Duždeve palače (Palazzo Ducale), koji je nazivan Torresella, knez Krsto Frankapan za trajanja Rata Cambraiske lige proveo kao mletački uznik gotovo pet godina (1514. – 1519.). Nakon njegova premještaja u zatvor u Milano, uspjelo mu je sredinom listopada 1519. pobjeći iz zatočeništva – pet tjedana nakon (ne)očekivane smrti supruge mu Apolonije Lang. Njezino je tijelo prema kazivanju Marina Sanuda otpremljeno iz Milana u jedan od Krstinih kaštela u Istri. Koncem studenog je Krsto molio dozvolu od Mlečana da postavi zavjetni oltar u crkvi B. D. Marije od Chiogge, što je vlast zabranila, ali je dopustila da pošalje koga po njegove stvari u Veneciju. Već se u siječnju 1520. nalazio u Apolonijinom dvorcu Falkenstein (Obervellach), gdje je instalirao triptih, danas poznat pod imenom Der Frangipani-Altar. Temom ovog rada dva su detalja na slikama tog oltara koja povjesničari umjetnosti nisu pravilno prepoznali i protumačili – jedan izravno vezan uz likovni prikaz grada Senja.In the part of the Doge’s Palace (Palazzo Ducale) that was called Torresella, Count Krsto Frankopan spent almost five years as a Venetian prisoner during the War of the League of Cambrai (1514-1519). After his transfer to a prison in Milan, he managed to escape from captivity in mid- October 1519 – five weeks after the (un)expected death of his wife Apollonia Lang. According to the words of Marin Sanudo, her body was shipped from Milan to one of Krsto’s castles in Istria. At the end of November, Krsto asked for permission from the Venetians to set up a votive altar in the Church of the Blessed Virgin Mary of Chiogga, which the authorities forbade, however, they did allow him to send someone to Venice to collect his belongings. By January 1520, he was in Apollonia’s Falkenstein castle (Obervellach), where he installed a triptych, today known as Der Frangipani-Altar. The subject of this paper are two details on the paintings of that altar that art historians have not properly recognised and interpreted – one of which is directly related to the visual representation of the town of Senj