According to the latest existing literature, the Holy Spirit sacral monument with its Gothic wall paintings would fit well into the context of the "Carniola presbytery" (the principle of painting which alludes to an "ambulatory" on the walls with a row of apostles, and merges into a colourful "baldachin" on the arch) and the Suha-Bodešče-Prilesje workshop (one of the major groups of semi-professional quality, whose anonymous masters worked together with their successors mainly in Upper Carniola and western Slovenia from the mid to late 15th century). My attempt at stylistic and iconographic placement however shows that the situation is not so unambiguous. The northern presbyterian wall in the Church of the Holy Spirit with its painted cluster of standing apostles under the arcades represents an intertwinement of tradition and innovation. The combination of northern and Italian aspects can also be confirmed from a technical point of view. In terms of the stylistic maturation of the depicted figures and the more temperamental colouring with warm tones, the Mediterranean style prevails in terms of humanistic rationality and attuned beauty – especially in comparison with the painterly dramatic complex at the nearby Suha and its author, the Master of Suha, whose frescoes in the Sv. Duh near Škofja Loka, are also said to have been created in his filiation. The recorded year of creation (1456) in the lower bordure band and a rare iconographic motif of the supplication of Mary and Christ in the under-arch make them even more unique.
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