- 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
Paz
St. Vitus
If you are coming to Paz from the direction of Boljun, you will see an elevation with a cemetery and chapel of St. Vitus, offering a view of the village. This is the point from where Paz is shown by the author of graphics for Valvasor's book The Glory of the Duchy of Carniola (Slava vojvodine Kranjske). Hardly anything has changed since then, except for the dilapidated castle covered in ivy. Bad news for art history, but good new for those fond of asparagus that grow here in abundance.
From the outside, the church has a simple form with a bell gable for three bells and a portico with a closed northern and southern wall as protection from the wind. Inside, in the sanctuary, there were two inscribed apses that were later removed. This typology is the characteristic feature of Istria, which will be mentioned again later. The frescoes have been preserved only on the eastern wall so that the imprint of the form of the removed apse can still be seen. However, more important is the cultural and historic importance of the preserved frescoes. They were painted by Albert from Constance, a town in south Germany lying on Boden Lake. Constance is known for its significant church council in the beginning of the 15th c. It was the time when the so-called soft Gothic was dominant in the Alpine region. It was a style formed on the bases of international Gothic that is also reflected in Albert’s works. On the place of the left removed apse is the Virgin and Child on a richly carved, airy lace-like, Gothic throne. The veil on her head is folded in the play of folds, forming an impressive volume. Right to the scene is the one where God the Father is seated on the throne holding crucified Christ in his hands, known as the Throne of Mercy. Among them is the dove of the Holy Spirit that completes this specific representation of the Holy Trinity. Albert’s continental component is his graphism that we will remember looking at the drawing of hair and beard of God the Father.
Albert became domesticated in Istria and often signed his works in Croatian, in the Glagolitic script. The most recent studies show that he also painted the frescoes in Pićan, Bale, Jasenovik, Plomin, Brseč and Lovran.
Seite drucken An Freunde senden
