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Barban is a town in South Istria, on the eastern bor-der of the one-time ager of the Roman colony Pula. Its location on a plateau overlooking the valley of the Raša River increased its strategic importance over the centuries. Driving along the road Labin – Pula we can hardly imagine all the attractions this town by the road has to ofer. Unfortunately, many people never stop to discover and admire its beauties.
Te town is renowned for its chivalrous game – tilting at the ring, but also as the center of the earliest Slav colonization in this part of Istria. It is also important for its social system and the role of the district-prefect, which has survived in these parts. In terms of town-planning Barban is a settlement of dependent farmers that developed around the castle, just like Boljun or Svetvinčenat. Te preserved heritage monuments in-clude the Church of St. Nicholas, Municipal Loggia, and Loredan Palace. Tey all stand at the site of an older castle of which only the semi-circular tower is visible and incorporated into the church. South-west of the parish church is the defensive tower connected with a wall to the town gate. In addition to the mentioned at-tractions, the most valuable sights are the two church-es in Barban decorated with frescoes: St. Anthony and St. James.
St. Anthony’s Church is situated in front of the main town gate. Te preserved medieval mural paintings, dating from the beginning of the 15 th c., are covered with Glagolitic grafti. In art-historical terms the inter-pretation of these mural paintings was given by Branko Fučić claiming that the style suggests painting of the early Quattrocento still under the Trecento infuence of North-Italian painting. Te southern and northern walls depict scenes from the life of St. Anthony, while on the eastern wall is the Virgin Enthroned and in the lower part a row of saints: St. Ursula, St. Blaise, St. Di-onysius... Te characteristic system of bordures and ornamental repertoire link this cycle to the one in St. Catherine’s Church in Svetvinčenat. It is the work of a workshop under the strong infuence of South Ty-rolean mural painting of that time.
St. James’s Church is situated on the northern edge of the town. Te original Gothic church had an inscribed apse that was later pulled down. Later interventions include the extension of church and an opening in the northern wall where the stone rose window from the original facade was incorporated. Tis opening partly damaged the frescoes. On the wall of the one-time apse is the Virgin Mary the Protectress guarding members of the Barban confraternity under her man-tle, depicted with distinctive physiognomies. Te side walls depict scenes of the legend of St. James, and on the southern wall is the Martyrdom of St. Lawrence. Te paintings were executed by the already mentioned workshop of John from Kastav, which is best visible in the presentation of one of the most beautiful images, that of St. Lawrence and scene of his martyrdom. On the same wall in the window embrasure is a rare icono-graphic scene in Istrian mural painting: in the glaring exterior light on the red background stands a white skeleton – death with a scythe and unrolled scroll, with which the painter has achieved the sensation of sud-den appearance of death through the window.
Barban is a town in South Istria, on the eastern bor-der of the one-time ager of the Roman colony Pula. Its location on a plateau overlooking the valley of the Raša River increased its strategic importance over the centuries. Driving along the road Labin – Pula we can hardly imagine all the attractions this town by the road has to ofer. Unfortunately, many people never stop to discover and admire its beauties.
Te town is renowned for its chivalrous game – tilting at the ring, but also as the center of the earliest Slav colonization in this part of Istria. It is also important for its social system and the role of the district-prefect, which has survived in these parts. In terms of town-planning Barban is a settlement of dependent farmers that developed around the castle, just like Boljun or Svetvinčenat. Te preserved heritage monuments in-clude the Church of St. Nicholas, Municipal Loggia, and Loredan Palace. Tey all stand at the site of an older castle of which only the semi-circular tower is visible and incorporated into the church. South-west of the parish church is the defensive tower connected with a wall to the town gate. In addition to the mentioned at-tractions, the most valuable sights are the two church-es in Barban decorated with frescoes: St. Anthony and St. James.
St. Anthony’s Church is situated in front of the main town gate. Te preserved medieval mural paintings, dating from the beginning of the 15 th c., are covered with Glagolitic grafti. In art-historical terms the inter-pretation of these mural paintings was given by Branko Fučić claiming that the style suggests painting of the early Quattrocento still under the Trecento infuence of North-Italian painting. Te southern and northern walls depict scenes from the life of St. Anthony, while on the eastern wall is the Virgin Enthroned and in the lower part a row of saints: St. Ursula, St. Blaise, St. Di-onysius... Te characteristic system of bordures and ornamental repertoire link this cycle to the one in St. Catherine’s Church in Svetvinčenat. It is the work of a workshop under the strong infuence of South Ty-rolean mural painting of that time.
St. James’s Church is situated on the northern edge of the town. Te original Gothic church had an inscribed apse that was later pulled down. Later interventions include the extension of church and an opening in the northern wall where the stone rose window from the original facade was incorporated. Tis opening partly damaged the frescoes. On the wall of the one-time apse is the Virgin Mary the Protectress guarding members of the Barban confraternity under her man-tle, depicted with distinctive physiognomies. Te side walls depict scenes of the legend of St. James, and on the southern wall is the Martyrdom of St. Lawrence. Te paintings were executed by the already mentioned workshop of John from Kastav, which is best visible in the presentation of one of the most beautiful images, that of St. Lawrence and scene of his martyrdom. On the same wall in the window embrasure is a rare icono-graphic scene in Istrian mural painting: in the glaring exterior light on the red background stands a white skeleton – death with a scythe and unrolled scroll, with which the painter has achieved the sensation of sud-den appearance of death through the window.
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