PRE-ROMANESQUE AND ROMANESQUE WALL PAINTINGS IN ISTRIA

The overview of Pre-Romanesque and Romanesque wall paintings in Istria begins with a description of Carolingian frescos found in St. Sophie's Church in Dvigrad and St. Andrew's Church oil the island of Crveni otok near Rovinj. Recently restored frescos from the parish Church of St. Martins in Sv. Lovrec and from St. Agatha's Church near Kanfanar, wall paintings from St. Michael's Church in Kloster near Lim and the recently found remains of wall paintings in St. Stephen's Church in Peroj can be dated to the Ottonian period. The wall paintings found in the Church of St. Foska near Batvaci near Peroj and St. Geronimo's Church in Hum can be dated to the twelfth century. Several locations can be associated with the thirteenth century, for instance St. Vincent's Church in Savicento, St. Mary Formosa's Church in Pula, and the locations that Fucic refers to using the term "countryside Romanesque" locations (Draguc, Bazgalji, Trviz, Boljun, Maruzini). Also classified in this group are older remains of wall paintings from St. Primo's and Felicius Church in Cirkoti. (The remains of wall paintings in the Church of St. Mary's of the Snows in Maruzini have recently been restored.) Furthermore, locations where the frescos have been found in an archaeological layer are mentioned. In the overview special emphasis is laid on recently restored frescos. In addition, G. Chirardi's views oil the cycle of paintings from St. Vincent's Church in Savicento are critically examined. Istria is a specific region where a variety of stylistic influences intertwine. The origin of the Benedictine component of early Romanesque paintings in Istria, subject to extensive research and widely discussed, certainly is heterogeneous. Today the origins of motifs and techniques used in these paintings call be ascertained with better accuracy. What can be noticed are influences from Rome, northern Italy, the Ottonian Empire, Aquileia, Venice, and possibly independent contributions from local workshops. Clearly, the Istria of that time was not autarchic and closed. On the contrary, it was a region permeated by a variety of influences. Finally, it needs to be emphasized that in the examined period Ottonian art leaned on a Carolingian repertoire of themes, motifs, and ornaments.