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The aim of this paper is to publish and place in an art-historical context two silver wall candelabra with busts of classical antique figures surrounded by intertwined stylized acanthus leaves. The candelabra are kept in the Franciscan convent of Trsat. They were last documented in a photo-documentary campaign by Artur Schneider during the 1930s, and in 1974 they were added to the culturalheritage list as part of the convent's inventory. It is a very valuable set of silver wall candelabra, donated to the Franciscan convent of Trsat in 1693 by the Holy Roman Emperor Leopold I Habsburg (1658-1705). The author refers to the written sources confirming the commission of the candelabra and analyses the evolution of their peculiar typology. In their design and iconographic programme, judging by the various analogies and graphic models, they corresponded to the production of Augsburg goldsmiths. This hypothesis is supported by the hallmark of the city of Augsburg and another one indicating goldsmith Antoni Grill I, documented in that art centre in the period from 1668-1700.

The medieval parish church of St. George in Lovran was being continuously enlarged and renewed in the period between 17th and 19th centuries. These reconstructions resulted in the ordering of several new altars adorned with paintings but also furnished with liturgical silverware. Among approximately ten objects that have been preserved in the parish church, the hitherto unpublished monstrance and chalice stand out by their quality. The monstrance is a typical late Gothic product: it has a rectangular glass vessel surmounted with a rich architectural decoration. It was made in the 16th century but it was rather heavily renovated in the 19th century. The unpublished neoclassical chalice dating in the 19th century has a base adorned with three fi gures of the personalities from the Old Testament. This characteristic connects it with the similar objects from Dubrovnik and Drvenik.

In the first part of the paper an overview of the construction of the parish church of St George in Lovran is presented. The oldest document connected to the altars is the testament of the Lovran parson Raden dating in 1410. More substantial is the Quaderna capituli Lovranensis. The most valuable data can be found in the manuscript of Francesco Bartiroma’s pastoral visit. He was the general vicar and of the bishop of Pula, Alvise Marcello (1653- 1661). Several decades later, the parish church was visited by Johann Weichard Valvasor. In the second part of the manuscript, the wooden and marble altars from the church are presented. An unattributed altarpiece depicting St. Anthony of Padua is being added to the artistic oeuvre of Francesco Potenza, a Venetian painter. The carved wooden font cover is being connected to the workshop of Mihovil Zierer. According to the newly discovered data, all the preserved altars in the parish church of St. George in Lovran were being repeatedly altered during the past.