Stage 2 (Svibno)

Corpus » Parish church of the Exaltation of the Holy Cross

Art-historical analysis

On the southern exterior wall of the chancel, the upper part of Christ on the Cross is still barely visible under the still preserved and presented younger layer. The scene was probably set under a painted, rather shallow ogival arch. The bordure concludes in a black contour, which probably transitioned from white to dark ochre. The background of the Crucifixion scene was dark red with Jesus nailed to an ochre cross, while a bright diagonally placed inscription band is still visible above his head. His right arm, which suggests a slim figure and very light carnation, is somewhat more clearly visible.

Most of the painting may still be preserved under a more recent layer, though the part that has been uncovered is only barely recognisable now.

The contours of the Crucifixion scene are black, unlike the reddish ones in the interior, which suggests a different painter than inside the church. As far as can be gleaned from the mural despite its poor state of preservation, it nevertheless seems that this was already a more advanced Gothic depiction and that parallels could perhaps be sought in the two Crucifixions in the Ptuj Minorite Church from the beginning of the 14th century (nowadays exhibited in the old Gothic choir of the parish church of St Peter and Paul in Ptuj).

The beginning of the 14th century.

An unknown painter.

Christ on the Cross.

The church was under the patronage of the Lords of Svibno, who, with their connections, could probably have provided a relatively high-quality painter. Given that Svibno maintained strong ties with Styria at that time, the painter may have come from there.

Technical analysis

Pigments: yellow earth, red earth, lead white or minium (?)

Analytical techniques: OM, XRF

The cross-section of the only sample taken shows a bright-coloured plaster made of lime and variously sized crushed grains of a bright aggregate (Fig. 4). This could be crushed limestone or quartz. The fine reddish grains also indicate that sand was added, which, however, is not clearly visible in the sample.

Only the yellow and red colours have been preserved (yellow and red earth). The sample of the red colour taken has been analysed using the XRF technique, which has confirmed the use of red earth mixed with a bit of umber (manganese, iron). It has also revealed the presence of some lead pigment, namely lead white or minium. Given that the presence of lead has also been discovered on the paintings in the chancel, both examples could indicate an older restoration intervention from before the end of the 19th century when these toxic pigments were still in use.

The basic yellow and red colour surfaces that have been preserved were painted on fresh plaster, as they still adhere to the base relatively well even though they have faded. The cross-section also confirms the use of the al fresco technique (Fig. 4).

The mural is too poorly preserved to discern the painting processes and modelling.

Gallery

Svibno, Parish church of the Exaltation of the Holy Cross, Stage 2 (Svibno), 2024 (last updated 29. 8. 2024). Corpus picturarum muralium medii aevi, https://corpuspicturarum.zrc-sazu.si/en/poslikava/phase-2-svibno/ (3. 4. 2025).

Cookies and privacy settings

License