The Altar of the Holy Cross (1678) is one of the oldest black marble Baroque altars in Carniola. It features a 19th-century Crucifix, a marble relief of the dead Christ with mourning angels (1701, Matthias Hendrichx), and three 18th-century angel figures.
The altar’s architecture reflects Venetian influence and early Baroque restraint.
A painting of Our Lady of Sorrows by Josef Plank (1860) adds emotional depth to this sacred space of contemplation.
The Altar of the Holy Cross is one of the earliest examples of black marble Baroque altars in Carniola. It was created in 1678 on the initiative of the Confraternity of the Agony of Christ. Architecturally and stylistically, it follows Italian—particularly Venetian—influences that marked sacred art in Ljubljana in the second half of the 17th century. Its design shows similarities with the work of the renowned stone-carving workshop of Mihael Kuša, active in Ljubljana at that time and instrumental in developing Baroque altars in the region.
Crafted from black stone, the altar’s architecture is flat and austere, conveying simplicity and solidity. The structure features two pairs of smooth columns flanking a trapezoid niche. Above it rises an attic section with a segmented cornice, giving the altar vertical rhythm and an elegant silhouette. Despite its dark tone, the altar is enlivened by polychrome inlays on the mensa, the column bases, and inside the niche. The overall design is restrained yet finely ornamented, characteristic of the early Baroque.
The central niche contains a Crucifix—the present figure of the Crucified Christ dates to the 19th century, though its pronounced late-Gothic features (body posture, facial expression, sculptural treatment) cast doubt on this dating. Above, the upper section is adorned with three wooden angel figures from the 18th century: one stands atop the attic, while two kneel on either side beneath a small baldachin. Their soft modeling and expressive faces complement the altar’s architectural lines.
Beneath the mensa is a precious marble relief of the dead Christ, mourned by angels. This work, added in 1701, is attributed to the sculptor Matthias Hendrichx, also known for other carvings in the church. His style is marked by emotional subtlety and realistic detail.
On the mensa stands a painting of Our Lady of Sorrows, created in 1860 by the Viennese painter Josef Plank. This later addition deepens the altar’s spiritual message, inviting contemplation of Christ’s Passion, divine compassion, and unwavering faith.
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