Plomin – Brseč – Lovran


St. George

In Lovran there are as many as three churches with remains of medieval frescoes. The old Lovran cemetery once stood by the tiny port, with its three churches of which only the Holy Trinity Church stands today. Inside the church are remains of frescoes, the work of Albert from Constance. The other two decorated churches are situated in the historic core of Lovran, whose tightly-knit appearance was dictated by the medieval walls on top of which houses later sprang up.

The frescoes in the Parish Church of St. George can be attributed to two workshops: Vincent from Kastav and the Colorful Master. The simple square sanctuary is topped by a stellar vault. The fields of the vault are covered with angel musicians. On the inner side of the triumphal arch in the scene of the Last Judgment the damned disappear into the mouth of the Leviathan. The intrados is covered with the Prophets of the Tree of Jesse. Scenes of the Martyrdom of St. George, church titular, are depicted on the right side of the sanctuary. The Gothic naturalism with great precision presents the scenes of torment in which the saint's body was lacerated on a wheel of swords, boiled in a cauldron and torn by a special instrument with metallic teeth. However, in the central field of the vault St. George is also depicted in a usual manner, as a knight on a horseback, slaying the dragon and rescuing the maiden. Unfortunately, this is a rare scene that has not been completely preserved, but is recognized only by the upper part with the maiden standing in front of the town walls. The northern wall of the presbytery depicts a popular theme of medieval art known by the German name Kreuzigung mit Gedränge. Crucified Christ between two criminals, deformed on their crosses, has just passed away. Around them a crowd of soldiers on horses, among them the Roman soldier Longinus pointing his finger at the dying Christ. The three Marys and John holding the Virgin Mary who is fainting because of the pain and suffering, Magdalene with loosened hair is crying, hugging the lower part of the cross, while the soldiers of caricature-like physiognomies gamble for Christ’s robes. The texts of the Gospel are written on the scrolls covering all unpainted surfaces of the background, and as cartoon clouds, carry the words of the present figures. This is one of the ten most beautiful medieval scenes in Istria, and its figures can be compared to the ones depicted in the Dance of Death in Beram.

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