Özet:

As the former capital of Dalmatia, Zadar abounded in monuments produced during the 17th and 18th century, especially altars, statues, and paintings. Most of this cul- tural heritage had been lost by the late 18th and the rst decades of the 19th century, when the former Venetian Dalmatia was taken over by Austrian administration, followed by the French and then again by the Austrian one. Many churches were closed down, their furnishings were sold away or lost, and the buildings were either re- purposed or demolished. One of them had been home to two hitherto unpublished angels-putti located on the top of the inner side of the arch in the sanctuary of Za- dar’s church of Our Lady of Health (Kaštel) at the end of Kalelarga (Fig. 1). Both marble statues were obviously adjusted and then placed next to the marble cartouche with a subsequently added inscription from 1938, which tells of a reconstruction of the church during the time it was administered by the Capuchins. e drapery of the right angel-putto bears the initials I. G., which should be interpreted as the signature of the Venetian sculp- tor Giuseppe Groppelli (Venice, 1675-1735). is mas- ter signed his full name as IOSEPH GROPPELLI on the base of a statue of St Chrysogonus, now preserved in the Permanent Exhibition of Religious Art in Zadar (Fig. 2). Same as the signed statue of St Anastasia by master An- tonio Corradini (Fig. 3), it used to form part of the main altar in Zadar’s monumental church of St Donatus, de- sacralized in 1798. Recently, two more angels have been discovered, inserted in the tympanum of the main altar in the church of Madonna of Loreto in Zadar’s district of Arbanasi, the one to the right likewise bearing the ini- tials I. G. (Fig. 4). Undoubtedly, these two artworks were once part of a single composition: the abovementioned former altar in the church of St Donatus, transferred to the cathedral in 1822 and reconstructed to become the new altar in the chapel of St Anastasia. Giuseppe and his younger brother, Paolo Groppelli, led the family work- shop from 1708, producing and signing sculptures to- gether. erefore, the newly discovered statues produced by Giuseppe are a signi cant contribution to his personal

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