ART

The church sanctuary has a rectangular tub-vaulted nave and a vaulted, flat-terminated presbytery, under which the ancient remains of the sanctuary have been preserved and, according to the project of the architect Tone Bitenc, are to be visible. The church may be entered via the porch along the western facade, reconstructed from the old emporium mentioned in the visitations of 1601 and 1631, or through the southern entrance. A few tombs from the 8th or 9th century B.C. are to be visible on the floor of the nave. Alongside the figural terminal keystone on the eastern facade, the Gothic phase is also recalled by the picturesque frescoes in the presbytery; dating back to approximately 1470, they are the work of a painter of the Mače Master circle, educated in the workshop of Master Bolfgang.

In painting the frescoes, the anonymous painter used the graphic sketches of Master E. S. and the Netherland fourty page Bible Pauperum. The preserved scenes tell the story of the Madonna: on the northern façade, the Annunciation to Mother Anne at her home and the meeting of Joachim with Anne at the Golden Door. Below, Mary is depicted as a temple virgin, while eucharistic Christ, accompanied by two angels with the tools of suffering, is portrayed ascending along the entire upper part under the Gothic architectural structure, on the former right part of the northern wall. The preserved piece of the second part of the cycle, placed on the southern wall, begins with Mary's visitation and continues with Christ's birth in the form of Mary's veneration of the child and the Purification. Just above the birth of Christ a fragment of Lady Day can still be noticed. Fragments of the Presentation in the sanctuary and of the Coronation of Mary, as a concluding picture of the circle, are also preserved.

The original Gothic altar, made presumably around the year 1465, is not preserved, with the exception of a wooden sculpture of the Madonna with Christ-child on the northern wall. The decoration is now in Baroque style.

The main Baroque altar from 1747, with ornate decorations recalls the tradition of altar art of the 17th century, representing the peak of the art of engraving during this period. Madonna's sculpture is in the central niche, while the unknown sculptor sculptured the emperor Henry II and his wife Cunigund left and right of it.

The other three stone altars were made in the year 1699 in the workshop of the sculptor Mihael Cussa from Ljubljana. Dating back to the same period are the altar paintings of Venetian nature, with the depiction of the altar patrons Saint Mary Madeleine on the north, Saint Blase on the south triumphal altar and Saint Michael in the south chapel. Similar to the southern chapel, the northern lateral chapel was built at the end of the 17th century; here there is the altar of St. Anne with a picture, the work of the well known Layer workshop of Kranj. The angel in the attic of the altar is attributed to the Baroque sculptor Valentin Vrbnik of Kranj, who is also the author of the pair of angels on the volutes of the triumphal-style altars.

The organ got its picturesque façade in 1639 in the workshop of Master Pavel Rottemburger.

The coat-of-arms of the provost of Count Enzenberg is depicted on the choir railing, as well as the coat-of-arms of the Brixen bishops John VIII and Franc Kuen, bishop in the years from 1680 to 1702.

The Baroque pulpit and the sacristy chest are also particularly noteworthy.