U povodu okončanih cjelovitih konzervatorsko-restauratorskih radova na glavnom oltaru župne crkve sv. Antuna pustinjaka u Slavetiću, u tekstu se iznose detaljna istraživanja o oltaru sagledanom s različitih gledišta. Osim sažetog izvještaja o izvedenim zahvatima, povijesno-umjetničkom analizom razmatrana je atribucija uglednom mariborskom kiparu Jožefu Holzingeru, te značajke oltara tipa svetohranište koje su dosada u literaturi obrađene s drugih aspekata. Oblik i proporcije glavnog oltara u Slavetiću sugeriraju da je bio koncipiran istovremeno s iluzioniranim naslikanim retablom na zidu svetišta, a njihovim je prožimanjem ostvareno ikonografsko i kompozicijsko jedinstvo, što je postalo specifična odlika na prostoru srednjoeuropskog umjetničkog kruga u drugoj polovici XVIII. stoljeća. Također, istraživanjem je obuhvaćen i fenomen prisutan i na oltaru u Slavetiću, a riječ je o rotirajućem svetohraništu, što u dosadašnjoj literaturi nije bila zasebno obrađena tema. ; Following the completion of conservation work on the main altar of the parish church of St. Anthony the Hermit in Slavetić, the paper brings forth the results of research into the altar. It is observed from various viewpoints – from a concise report on the treatments performed, through an art-historical analysis and to altar typology. The altar was constructed in 1791, with the sculptures attributed to the renowned Maribor sculptor Jožef Holzinger. The form and proportions of the main altar in Slavetić suggest it was designed at the same time as the illusionistic painted retable on the wall of the sanctuary. A special attention is given to characteristics of the tabernacle type of altar, which literature has thus far analyzed from other aspects. Until the 16th century, the place for keeping the consecrated Eucharistic bread was separate from the altar, while during the 17th, and especially the 18th century, tabernacles became an increasingly elaborate portion of retable architecture, growing in importance in church space and liturgy. An incentive for the newly-acquired prominence came from the conclusions of the Council of Trent (1545–1563) on transubstantiation, which was to become a major theme of the post-Tridentine promotion of Catholic religious identity. Instructions about the tabernacle appearance are found in the 1577 handbook by the Bishop of Milan, St. Carlo Borromeo, Instructiones fabricae et supellectilis ecclesiasticae (Instructions for church building and furnishing), while the authority it acquired through theological teachings lent it the opportunity to fully emancipate and develop into an independent type of altar, with several subvarieties. Unlike the variant with carrier angels or the variant reduced to only a tabernacle with no assistant figures, the Slavetić altar matches the subvariety with large adoring angels, which owes its formal origin to the greatest inventor of the 17th century, Gian Lorenzo Bernini. His composition for the Altar of the Most Holy Sacrament in St. Peter’s Basilica in Rome, executed in 1673/4, became an influential model for the development of this typological subvariety, based on numerous references in written sources. The composition and location of the main altar, within a fully painted sanctuary of the church in Slavetić, manifests two originating ideas. The prominent tabernacle with large adoring angels was inspired by the Roman model, and by combining it with the painted retable on the wall, a visual unity was achieved, which became a distinct feature of the Central-European artistic circle in the second half of the 18th century. In addition, the paper touches on another phenomenon present in the Slavetić altar, namely, the rotating tabernacle that enables different scenes to be interchanged and displayed, depending on the time of the liturgical year.