- Gradišće – Koper
- Podpeč – Zanigrad – Hrastovlje
- Slum – Roč – Hum
- Draguć – Paz – Gradinje – Gologorica
- Pićan – Gračišće – Lindar
- Pazin – Beram
- Oprtalj – Čirkoti – Rakotule
- Vižinada – Božje polje – Labinci
- Višnjan – Bačva – Poreč
- Sv. Lovreč – Kloštar
- Šorići – Dvigrad – Kanfanar
- Žminj – Svetvinčenat
- Bale – Batvači – Fažana – Pomer
- Bičići – Barban – Prodol
- Jasenovik – Nova Vas – Vranja
- Plomin – Brseč – Lovran
Draguć – Paz – Gradinje – Gologorica
Gradinje
All Saints
The meander of all Istrian roads leads us here to the place from which we cannot go any further, as if we have come to the very end of Istria. The view from the road above the village onto the Bay of Plomin is breathtaking. This natural pocket is endowed by the beneficial influence of the Mediterranean climate allowing thus olive trees to grow in the heart of Istria. Just like in Paz, Valvasor’s graphic recorded the appearance of the town, several houses and the defense tower that dilapidated in the meantime. The only detail missing is the most important monument of this village, the cemetery chapel of All Saints.
It is simple from the outside, with an inscribed apse, bell gable and portico in front of the facade. If we take a look behind the altar, we will discover a true miracle of Istrian mural painting. The older layer of mural paintings is technologically not a fresco; it was made on a layer of dense lime milk applied onto the dry plaster in a thin layer. It represents a row of Apostles and angels. Although they seem rustic and unattractive to the eye of today’s observer, the beauty of these paintings should be sought in their directness, and enjoy the lines of strokes made by the firm hand of the master as if wishing to leave behind figures that will be worshipped by an ignorant Istrian peasant. They count among the oldest frescoes in central Istria, the end of the 13th c. On the younger layer of painting, in the Gothic tradition of Deisis, Christ Enthroned is on our right side surrounded by St. Sixtus the Pope, while St. Lawrence the deacon of Sixtus, is on the left. Contrary to the Gothic iconography and ornaments, the tone modeling and the spatial suggestiveness of the figures is closer to the views of the Renaissance. Its dating to the end of the 15th c. is testified by the Glagolitic graffito on the papal robes, carved in 1526 by priest Ambrožić of the Boljun chapter.
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