The monastery of St. Lucy is the only active Benedictine monastery in the Šibenik area, also being one of just nine remaining in Croatia. Founded in 1639, when it was opened as the third and final female Benedictine monastery within the city walls, the Monastery of St. Lucy welcomed girls from lower social classes. Following the closure of the Monastery of the Holy Saviour at the end the 18th century and the Monastery St. Catherine at the beginning of the 19th century, the Monastery of St. Lucy remained the sole home for Benedictine nuns in the city, thus becoming the custodian of the movable heritage that had belonged to the two closed monasteries. This master’s thesis deals with the art collection kept at the Monastery of St. Lucy, focusing primarily on paintings, sculptures and altar works, most of which have not been the subject of art historical research until now. Based on studying available literature and conducting field and archival research, it provides an overview of the works of art from the Monastery collection of St. Lucy, i.e. the preserved works that represent the combined movable heritage of the three Benedictine monasteries. The introduction briefly deals with the history of the Benedictine Order in Croatia, followed by the circumstances of the foundation and the history of the Monastery of St. Lucy in Šibenik. The main body of the thesis is dedicated to analysing the Monastery's art collection, divided into separate chapters on icons, sculptures, paintings, and altar works, providing their approximate dating, formal and iconographic analyses, artistic templates according to which some of the works were created, and their current state of preservation. There is also a separate chapter addressing the microclimatic conditions in which the works are being kept. While the entire collection comprises works dated from the 13th to the 19th century, most of it consists of paintings by 17th- and 18th-century local masters, and the largest part of the thesis is devoted to cataloguing the works with accompanying images. The final section of the thesis draws conclusions gained during the cataloguing process and reflects on the cultural and historical significance of the collection, particularly in the wider context of Benedictine and Croatian art.