Chapel of the All Saints
The most prominent buildings and graves
In its first phase it was put up as the Chapel of St Micheal, and then in middle and at the end of 19th century it was modified to produce its current appearnace. It unites a religious and a utilitarian function; in the tripartite division of the interior it contains a central chapel, whilwe the side aisles are used for a chapel of rest and the abode of the sexton. The chapel, although modest in size, is richly furnished. The main altar with the altarpiece of All Saints, the Historicist wooden benches and prie-diuex surviving from the former Dubovac hospital chapel of the nuns and a positive organ placed in the choir. The historical positive, according to the researches of Emin Arman, might have been the work of Karlovac organ builder Johann Heilinger of the first half of the 19th century, with a Baroque conception of the sound. As well as having high value for organ studies, it is also culturally important, for when it was placed in the chapel, it meant that the Karlovac Catholic population had expressed its desire to bid farewell to their departed to the strains of organ music. The wall decoration of the interior of the chapel was done in 1892 by church painter Marko Antonini (Gemona, 1949 - Zagreb, 1937), in the spirit of academic realism.
The most prominent buildings and graves
In its first phase it was put up as the Chapel of St Micheal, and then in middle and at the end of 19th century it was modified to produce its current appearnace. It unites a religious and a utilitarian function; in the tripartite division of the interior it contains a central chapel, whilwe the side aisles are used for a chapel of rest and the abode of the sexton. The chapel, although modest in size, is richly furnished. The main altar with the altarpiece of All Saints, the Historicist wooden benches and prie-diuex surviving from the former Dubovac hospital chapel of the nuns and a positive organ placed in the choir. The historical positive, according to the researches of Emin Arman, might have been the work of Karlovac organ builder Johann Heilinger of the first half of the 19th century, with a Baroque conception of the sound. As well as having high value for organ studies, it is also culturally important, for when it was placed in the chapel, it meant that the Karlovac Catholic population had expressed its desire to bid farewell to their departed to the strains of organ music. The wall decoration of the interior of the chapel was done in 1892 by church painter Marko Antonini (Gemona, 1949 - Zagreb, 1937), in the spirit of academic realism.
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