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The Church of St. Fosca
This
church, dating from the first half of the 17th century, s built in the style
of the Renaissance, but has some Baroque elements too. The facade and the Renaissance
portal are very plain. On both sides of the portal there are two windows provived
with iron bars. Until the requisition of the bells for war purposes during
the World War I and II in the belfry there were two bells made in the Venetian
foundries (from the 17th and 18th century). Teh bell with the signature OPVS
CASTELLIS made in the 16th century in the Venetian foundry was removed in the
World War I. It was replaced by the bell made in the foundry Lapagna in Triest
1922. this bell, as well as the other one from 17th century, decorated with
images of St. Fosca, the Madonna and crucifixion and provided with the Latin
text SANCTA FVSCA VRSARIAE MDCLXXX (St. Fosca of Vrsar 1680) was taken away
by the Italians during the World War II. However, these bells were not used
for war purposes. Today they can be seen in the bell tower of the parish church
of St. Martin.The church of St. Fosca has been recently renovated. In it there is a sacral collection containing valuable exhibits, such as the picture ''Martyrdom of St. Fosca'' dating from the 17th century. Especially attractive are the sepulchral slabs decorated with coat-of-arms and Latin texts. In front of the main altar there is the tomb of the Vrsar priest Luka Prodanić (Luca Prodanich), Croat, who died in 1659. On the slab the clerical symbols (Chalice and host) are engraved.
The Main Town Gate
Next
to the church of St. Fosca there is the eastern, that is the main gate. In
the past centuries this was the main entrance to the fortified town, which
as late as in the 19th century began to expand down the hill slopes. (Until
the 19th century there were only a few lonely houses or some church outside
the walls).This Romanesque gate dates from 13th century. A semicircular arch
is carefully carved. Once the gate was provided with iron-bound wooden wings
made of hard Istrian oak. At the inner part of the gate-posts two rings still
can be seen – one made of stone and the other of iron, by means of which the
wooden wings were fixed to the posts.
The gate was part of town walls, so aove ai a fragment of the ancient wall
has been preserved. On a stone tile formed like a shield there is shallow
relief with a floral motif representing a miniature lion of St. Mark (symbol
of the Venetian Republic)holding a Mark the Evangelist's book. The lion has
raised wings and lowered tail and in his paws he holds a closed book, what
means the relief was made during the war time. The peacetime lions used to
have an open book in their paws with the Latin text: PAX TIBI MARCE EVANGELISTA
MEUS (Peace to you, my Mark the Evangelist).
The lion resembles the Venetian lions from the 14th century, but also the
ones from the 15th and 16th century, therefore it is very defficult to date
it precisely. The first Venetian lions appeared on public buildings in Istria
at the end of the 13th and beginning of the 14th century. (From the 10th till
the 18th century Vrsar belonged to the Poreč bishopric, so maybe the lion
had been brought here from somewere else and put above the gate after 1778,
when Venice took Vrsar over from the Poreč Bishops).
In front of the gate, on the left side, there is the fitst school building
dating from the 19th century.
Streets and Squares
In
the course of the past centuries narrow streets and small intimate squares
developed inside the ancient walls. Interesting examples of residential
architecture containing elements of different historic styles have been
preserved till the present days. Old houses with intersting architectural
details (courtyards, water-wells, staircases, doors, windows, balconies,
chimmneys) are particularly attractive.
The street ''Ulica gradskih vrata'' (The Town Gate Street)
is leading from the main gate to the top of the old town. There are several
interesting old houses in that street. Not far from the main town gate
there is a house with curious stone figures representing two chubby-faced,
full-breasted woman. The figures are built in high up in the house edges.
Along this house the picturesque street ''Pod voltom'' (''Under the vaults'')
is going, being vaultedon two spots. Vaulted streets are typical of the
medieval archittecture. Little space inside the town dictated rational
and economic use of it.
In the Town Gate Street there is also a house dating from
the 18th century characrised by both the Renaissance and Baroque style.
On its portal the Latin text is engraved:
IO PIETRO (voda) M POLLO (ieri) F (eccit) ANNO D (omini)
1757. (I, Petar Boico, of the deceased Pollo, solemny made in the year
of the Lord 1757).
On the right side there are several ancient houses. In the
Casanova Street there is a nice house built in the Romanesque style.
In 1963, during reconstruction works in the Town Gate Street,
some fragments of the Bronze Age ceramics were found.
On the top of the old town of Vrsar there is the parish church
of St. Martin and the ruined castle (former summer residance of the Poreč
Bishops).
The Parish Church of St. Martin
The
town wall with Romanesque gate were once passing througt
the place where the parish church is standing nowadays. The
history of its building is very long. The foundations were
laid at the dawn of the 19th century (1804). During the French
occupation (1805 – 1813) building was contuined, but then
came a long pause. Between the years 1927 and 1935 (at the
time when the patrish priest Josip Martinol was holding the
offise) the construction was brought to the end. Accompanied
by religious celebrations, the church was consecrated on
March 19th, 1935 by the Poreč Bishop Trifun Pederzolli (Latin
text in the church) in front of the church there is a flight
of stairs. Facade is completed by a triangle gable. On the
portal there is the Lati text: VERE LOCUS ISTE SANCTUS EST
(The place is really sacred). The other Latin text on the
facade speaks of the history of church building. In it the
pope Pio XI, the Italian king Vittorio Emanuel and the bishop
Trifun Pederzolli are mentioned.
The construction of the a bell tower, planned at that time,
was realiseed not earlier than in 1991.
The interior consists of three naves, divided by four pillars
on each side. On the pillars the donators' names are engraved.
The capitals are decorated eith floral ornaments (palms and
volutes). In the presbytery there are two arches covered
with religious pictures, which were painted in 1946 by Antonio
Macchi from Rovinj qccording to instructions of the priest
Francesco da piran. Pictures on the first arch represet scenes
from the lives of St. Martin and St. Fosca. In the left corner
St. Martin is cutting a soldier's coat with his sward and
giving it to the frozen beggar. In the right corner martyrdom
of St. Fosca, a Cristian woman martyr is shown. In the middle
of the arch there is an image of the Crist with outstretched
hands. The image is completed by the Latin text: SANCTI NOSTRI
MARTINE ET FVSCA INTERCEDITE PRO NOBIS (Our saint protectors,
Martin and Fosca, pray for us). The other arch is painted
with floral motifs (flowers and trees), angels and sheep.
In the central part there is the symbol of the Crist – Agnus
Dei (God's lamb). The Latin text goes:
ACCE AGNUS DEI: ECCE QUI TOLLIT PECCATA MUNDI (Here is the
God's lamb, that takes over the sins of the world).
The artistic inventory of the church is quite poor. The marble
baptistery in the left nave wasbrought from the old church
of St. Martin (which was located on the main square, in the
very centre of the town). It is a great pity that the wooden
Gothic Madonna statue dating from the 14th century was slolen
from the church. Beforehand it had been kept in the aromanesque
basilica of St. Mary situated in the Harbour. Next to the
church of St. Martin there is a parish house built in 1935.
Summer Residence of the Poreč Bishops (Castle)
In
the immediate vicinity of the parish church there is a monumental palace
thet used to be the summer residence of the Poreč Bishops. On this strategic
location the Poreč Bishops had at first built some modest Romanesque palace
(12th/13th century). In the centuries to come the original palace was continuosly
being reconstructed and enlarged. In fact, the conteporary palace arose
after reconstructions of the original Romanesque castle in the period between
the 14th and 18th century.
It is not quite clear how the palace orginated. In the architecture of
the building traces of different styles can be found-from the Romanesque
till the Baroque. The palace was fortified, therefore in documents it was
named '' castrum'' (fortification, fortified castle). The castle of the
defensive walls have been preserved till the present days. In the south
there are two slender observation towers from the 13th century having a
square ground-plan and being provived with loop-hotels. On the facade of
the left tower there is a slarium dial. The palace consisted of numerous
rooms (for the Bishops, servants and guests). In the ground floor wine
and oil presses were situated, as well as baking ovens, water cisterns
and store-room for agricultural products such as oil, wineand corn produced
on the Bishops' fields around Vrsar. A stable for horses and mules was
also part of the palace. In one tower there was probably a prison for disobedient
citizens.
The Bishops used the palace as the summer residence, but sometimes also
as a refuge (''refugium''). At inconvenient times (e.g. during war or plague)
the Poreč Bishops used to leave Poreč and come to Vrsar. During the riots
in Poreč in 1299 the bishop Bonifacius took refuge here. On the other hand,
some Bishops were constantly dwelling in Vrsar. In the 17th century the
Bishop Ruggiero Tritoni moved from the unsound malarial Poreč and settled
down in Vrsar (1632 – 1644). He died and was buried here. Likewise the
Bishop Gianbattista de Giudice lived and died in Vrsar (1644 – 1666).
Whenever the Bishops were entering or leaving Vrsar, their peasants were
obliged to carry their luggege without any charge. In one document dating
from 1577 it says: ''They (peasants of Vrsar) are also obliged to carry
the Bishop's luggage without any charge whenever the Bishop is coming to
the castle or is leaving it''.
The palace was sometimes visited by high ecclesiastic personalities and
statesman. Here the Poreč Bishops used to hold synods for the local clergy.
In the presence of prominent persons the Bishops sometimes issued important
documents. At the beginning of a document issued by the Bishop Oton in
1288 it says: ACTUM EST HOCH IN TURRI CASTRI URSARIAE... (This was made
in the tower of the Vrsar castle).
At the end of the 18th century (1778) the Venetian Republic abolished the
church county of the Poreč Bishops and the palace became Venetian state
property. At the height of the Venetian rule over Vrsar (1778 – 1797) the
palace was occasionally inhabited by the Venetian major of the municipality
of St. Lovreč, to which Vrsar wasannexed after abolishment of the Bishops'
rule. In a decree issued in 1793 by the Venetian central authority the
major of St. Lovreč, named Palma, was given permission to spend a few months
a year in Vrsar because of its healthy climate. On that ocasion the renovation
of the palace was ordered.
In the 19th century the palace was conveyed to the patrician family Vergottini
from Poreč. During the 20th century the palace has begun to crumble, so
nowadays it is a ruin crying for renovation.
The Old Romanesque Gate
Compared
to the main medieval town gate in the eastern part of Vrsar. this gate
is smaller, therefore it is called the small town gate. The gate was
built in the second half of the 13th century, when the Romanesque style
was prevailing in Istrian towns. The gate frame consisting of thirteen
stone blocks was carved out very precisely. In the past the gate used
to be part of the town walls. Two gate wings made of hard Istrian oak
have been preserved till the present days. Especially interesting are
the stone rings that hold the wings. The gate is provided with a closing
mechanism. Above it there is a fragment of the town walls and a stone
tile with shallow relief representing St. Mark's lion. As to its artistic
characteristics, the lion resembles the one above the east gate and
is probably made by the same artist. This lion also holds a closed book
in his paws, has raised wings and lowered tail. The relief was made
between the 14th and 16th century. Most likely it was brought from somewhere
else and put above the gate about 1778. when the Venetian republic became
the ruler of Vrsar.
Just by the gate two iron balls are built in the wall. They
probably originate from the English ships which at the beginning of
the 19th century cannoned Istrian towns, at that time under occupation
of Napoleon's soldiers.
The Church of St. Anthony
Within
the easy reach of the small town gate there is the church of St.
Anthony of Padova dating from the second half of the 17th century
and having characteristics of the Renaissance-Baroque style. The
facade is quite simple. On the portal lintel there is an engraved
text written in form of abbreviations (I.O.B.C.F.F.C.E.L.E.) and
the year of construction (1656). On both sides of the rectangular
portal there are two square windows with iron bars. Over the portal
there is a small round window and on the south wall a semilunar one.
Above the facade a simple belfry is standing formed like an arcade.
Up to the requisition for war purposes in the belfry there was a
small bell from 1657 richly decorated with images of St. Anthony.
Holy Virgin and the Saints. On the top of the belfry there is a stone
ball and an iron cross.
In front of the church there is the arched doorway (roofed
entrance). Arches and wooden roof frame are supported by ten stone
columns. Such doorways are very interesting architectural-artistic
motifs to be found in front of Istrian country churches. They originate
from the period between the 14th and the 19th century and represented
a prolongation of the church space. Those who did not manage to enter
the crowded small church used to stand here, as well as persons under
arms. Here people took shelter from the heat or rain. Those who were
late and found up the closed town gate used to spend the night in
the porch. Here the court trials took place and business arrangements
were made.
The church interior has been renovated, so nowadays summer
art exhibitions are held here.On the wooden Venetian altar (of the
late Renaissance style with Baroque elements) there is a painting
of St. Anthony with the Saints.
...in the Harbour
The
harbour was formed in the 19th century when a number of houses were built
on the slope between the old town centre and the sea front. However, life
has been going on in the bay of Vrsar since ancient times up to present
days. In some medieval documents the area around the harbour of Vrsar was
called "Fabian". In the period from the 12th to the 17th century
here the saltworks and storehouses were standing that belonged to the Poreč
bishopric. Along the coast between the village of Funtana and the Lim Channel
the archaeological zone is stretching containing finds from the Antiquity
and Roman times. On several locations remains of Roman country villas (villae
rusticae) have been discovered. Abundant traces of Roman private and public
buildings have also been found around the bay. Pietro Coppo. an Italian
geographer from Isola was the first who. in his book "Del sitto dell
Istria" dating from the first half of the 16th century ("On the
position of Istria", Venice. 1540), drew attention to the remains
of the Roman architecture in the harbour of Vrsar. Referring to them, he
wrote: "Along the most part of the coast... there are remains of ancient
buildings, what gives evidence that once a number of houses were standing
here".
At the beginning of the 20th century the Czech archaeologist
Anton Gnirs (1875-1933) wrote about some Roman remains in the harbour of
Vrsar which had come under the sea due to soil depression.
The Church of St. George
Off the harbour there is the islet of St. George on which a
Romanesque church bearing the same name is standing. The church, which
was renovated in 1995, has a rectangular ground-plan prolonged by an
apse. Some historians have brought up theories that maybe the Roman town
Ursaria was standing exactly on this islet. This opinion was based on "Tabula
Peutingeriana" (a copy of a Roman map from the 3rd or 4th century)
where the Roman town Ursaria was marked on an island. In the early Middle
Ages an anonymous geographer from Ravenna placed likewise Ursaria on
an island. There have not been any archaeological researches on the islet
yet.
Roman Store-houses and Roman Necropolis
Several decades ago, in 1928. foundations of a large building about 70
metres long were excavated in the harbour of Vrsar.
In Roman times Vrsar was an important trade centre and according to archaeologists'
opinion these foundations belonged to Roman store-houses for merchandise (lat.horreum).Harbour
equipment from the Roman period shows the existence of brisk trading at that
time. In the past the remains of the Roman embankment could also be seen in
the harbour. On the southern side of the promontory Montraker. which is bordering
the harbour from the north, remains of the Roman necropolis (graveyard) have
been discovered, together with a modest sepulchral inventory. The ashes of
burned dead bodies used to be put into the urns and then buried. Some ten
years ago a Roman cipus (tombstone) from the 2nd century was excavated in
the harbour. The tombstone was erected by a husband to his beloved wife. On
the cipus the following text is engraved: DIES MANIBUS SECURAE CON1UGI DULCISSIMAE
AURELIUS CRAESCES FECIT. (To the house-gods. To the sweet wife Secura. raised
by Aurelius Crasces). This is the only Roman epigraphic monument discovered
in Vrsar. At present it is kept in the Regional Museum in Poreč". Fragments
of late antique sarcophagi have also been found in Vrsar.
The Old Christian Basilica
Next
to the Romanesque basilica of St. Mary, in the walled-in backyard, there
are remains (foundations and mosaic floor fragments) of the Old Christian
basilica dating from the 4th century. Nowadays the remains of the basilica
are covered with earth and are not accessible to the public. This was one
of the oldest Old Christian buildings in Istria. First Christians in Vrsar
(2nd or 3rd century) performed their religious ceremonies presumably in
some private houses. The basilica was probably built in the 4th century,
after the emperor Constantin the Great (306-337) had by the Milan edict
permitted the Christians to profess freely their religion. Fragments of
the basilica were excavated in August and September of 1935 by the Italian
archaeologist Mario Mirabella Roberti. The basilica had a rectangular ground-plan
and resembled the basilicas of the first phase of the Old Christian architecture.
The baptistery (baptisterium) was also a part of the basilica, as well
as the entrance-hall (nartex) on the west side. In the 6th century the
basilica was enlarged by an apse (semicircular recess on the back side).
The floor was covered with polychromatic mosaics. The mosaics have been
preserved only in fragments, but one can still imagine their artistic entirety.
They are decorated with very interesting Old Christian iconography, mostly
with floral (leaves, wreaths, baskets with grapes) and animal motifs (fish,
peafowls, pigeons). Images of fish originating from the Istrian sea are
proof of the mosaics having been made in some Istrian artistic workshop.
On them the four seasons are symbolically represented. The central mosaic
field consists of 73 circles connected to each other by tresses. As to
their artistic characteristics, the mosaics resemble the ones in the Theodoric's
basilica in Aquileia dating from the year 324.
During invasions of the Slavs (Croats) to Istria at the beginning
of the 7th century the basilica was demolished and a part of it transformed
into an olive mill. Archaeological finds include Roman tegulas (tiles),
coins, lucernas (lanterns) etc.
By all means, the mosaics should be excavated and presented
to tourists and visitors.
Romanesque Basilica of St. Mary of the Sea
In
the Vrsar harbour there is a very interesting medieval monument: the Romanesque
basilica of St. Mary of the Sea. The basilica represents an outstanding
monument of the Romanesque architecture in Istria. Its history is long
and curious. In Roman times some large building (maybe "villa rustica" -
a country house with farm buildings) was standing on that place. The original
and modest church of St. Mary was built on that spot in the early Middle
Ages (second half of the 8th century). Between the 8th and the 12th century
the original church was repeatedly reconstructed. Its present-day architectural
and artistic appearance is dating from the 12th
century. Traces of the reconstructions can still be seen on
the walls. In recent years the church was renovated several times (last
renovation in 1969). As to its architecture. the quite monumental basilica
(24.5m x 12,5m) reminds of Old Christian churches. The Croatian art historian
Ljubo Karaman (1881-1971) wrote about this basilica: "Vrsar has a
wide three-nave Romanesque basilica on columns. which has preserved its
original impression of a church having atmosphere of simple Old Christian
buildings''. The facade is pretty plain. There is a round window (oculus)
on it. On the east side there is a simple belfry formed like a Romanesque
monofora (one arch for the bell). In the belfry is a little bell dating
from 1922. made in the bell foundry Lapagna in Triest.
Semidark interior is very impressive. It is divided into three
naves by heavy Romanesque arches and monolithic round columns. On each
side there are three columns with interesting capitals of the Romanesque
style, decorated with floral motifs (palms). The capitals are rounded off
in the lower part and square on the top. Eastern part of the church interior
ends in three apses.
The church floor is not original. It has been raised, therefore
the columns seem to be too short. In this way the primary Romanesque harmony
of the church interior has been disturbed. In the past the floor was covered
with sepulchral slabs provided with Latin texts. One such slab has been
preserved in the church presbytery. A procurator of the Franciscan monastery
named Simon of Bosnia, who lived in the 17th century and in the spirit
of Christian philosophy had a pessimistic view of life, had his and his
wife's slab engraved with the following Latin text:
SEPVLCRUM. D.(omi)NI. SIMONIS BOSNENSIS. PRO(curi) TORIS. FRA(tr)VMORDINIS.
MINORVM. S(ancti). FRAN(cis) CIET. VXORIS. EIVS. SIMONAE DOMVS. DIVITAE.
LOCVS. MISARIAE REFVGVIM. SVPERBIAE. (Grave of Simon of Bosnia, procurator
of the order of St. Francis's Minor Brethren, and his wife Simone. House
of life - place of misfortune and refuge of arrogance.
Interior walls were decorated with polychromatic religious
frescoes, first of which were painted in the 9th or 10th century. In the
first half of the 16th century some native artist painted the interior
again with high-quality frescoes. Although very poor traces have been preserved,
some of the frescoes can still be seen on the main apse wall (Saints' heads).
Once the basilica was equipped with a rich artistic inventory (statues,
paintings etc.) Today the church looks empty and miserable. The wooden
statue of the Gothic Madonna dating from the 14th century, which had belonged
to this church, was stolen from the parish church of St. Martin some 20
years ago. Paintings made by old Venetian masters have also disappeared.
Only the painting representing the Madonna and the Saints is still kept
in the church. On it there is a signature VITORIO JERALTA. In 1177. travelling
from Venice to Ancona. the pope Alexander III stayed in Vrsar for three
days and celebrated the Mass in this basilica.
Next to the church there used to be an old graveyard. Some
traces of it have remained by the northern backyard wall. In 1900 a new
cemetery was made outside the town, by the road leading to Funtana. In
the church-yard, right of the south portal, there is a classical Roman
stone block, decorated with garlands (wreaths made of leaves and fruits)
hanging on the horns of ox skulls. The stone was discovered in 1932 near
the small village Valkanela, not far from Vrsar. It belonged to a Roman
country house ("villa rustica") from the 12th or 13th century.
Right by the basilica there are remains of an old monastery. In written
documents the monastery was mentioned for the first time in the second
half of the 12th century (1177) under the name "Prioratum Sanctae
Mariae". However, it is not certain whether the monastery really existed
at that time. A more reliable document dates from the year 1227. The first
monks in the monastery were the Carmelites (named after the Mount Carmel
in Palestina) who. persecuted by the Turks and the Arabs travelled through
Cyprus and Sicily and arrived to Europe. The Carmelites settled down in
Vrsar either at the end of the 11th century or at the beginning of the
12th century and founded their monastery here. With some interruptions
the Carmelites lived in the monastery till the middle of the 14th century.
In the second half of the 17th centurv (about 1631) the Franciscans came
to the monastery and stayed here up to 1660. when it was closed due to
a conflict between the monks and the Poreč Bishop Gianbattista de Giudice.
The matter in dispute was ownership of monastery possessions (in a quarrel
the monks killed the Bishop's nephew). The Franciscans renovated the old
monastery building in the Baroque style. In the ground floor there were
wine-press, olive-mill and store-rooms for agricultural products. After
the Franciscans had left.for some time (till 1732) the seminarium (school
for priests) was held in the monastery. The facade dating from the 17th
century has been preserved till the present days.
Abandoned Stone Quarries
The
ancient abandoned stone quarries should also be added up to the sights
of Vrsar. In the Vrsar quarries the stone has been obtained ever since
Roman times. Within easv reach of the basilica of St. Marv. on the islets
offshore there are remains of abandoned quarries (e.g. on the top of the
islet St. George). Some art historians brought up a theory that maybe the
monumental and monolithic cupola of the East Gothic king Theodore the Great's
(493-526) mausoleum in Ravenna (having a diameter of 10.76 m and weighing
230 t) is made of the rock broken off the top of that islet. (The archaeologist
and historian Dr. Ante Šonje is of the opinion that the cupola originates
from a quarry south of Poreč.) On the peak Gavanov Vrh (Ital. Monte Ricco)
east of Vrsar there is also an abandoned quarry, as well as on a hill north-east
of Vrsar. High-quality grey stone (Aurac) has been obtained here ever since
Romanesque times. The quarries around Vrsar and Rovinj were exploited to
the most extent during the long rule of the Venetian Republic in Istria
(from the 13th to the 18th century).
In the time of the Renaissance and Baroque the high-quality
stone from Vrsar (pietra di Orsera) was well Vrh (Ital. Monte Ricco) east
of Vrsar there is also an abandoned quarry, as well as on a hill north-east
of Vrsar. High-quality grey stone (Aurac) has been obtained here ever since
Romanesque times. The quarries around Vrsar and Rovinj were exploited to
the most extent during the long rule of the Venetian Republic in Istria
(from the 13th to the 18th century).
In the time of the Renaissance and Baroque the high-quality
stone from Vrsar (pietra di Orsera) was well known in Italian towns. It
was especially used in Venice for building of palaces, bridges and churches.
In order to provide good quality stone. Italian sculptors and constructors
have occasionally visited Vrsar. The first figures concerning exportation
of Vrsar stone to Venice date back to the 14th century. In the year 1334
the Venetian sculptor Leonardo Tagliapietra was staying in Vrsar temporarily.
The Renaissance sculptor Antonio Rizzo (1467-1498) from Verona, who donated
to Venice his most important works of art (e.g. the tombstone to the doge
Iron, works on the doge's palace etc.) visited occasionally Rovinj and
Vrsar at the time of his full activity in Venice. Nowadays the international
sculpturing school is held every summer in the revived quarry "Montraker".
Works of art made in this school remain in Vrsar making the town space
nobler in that way. By the road to Funtana there is the cemetery built
in 1900 by Celeste Gerometta, a building contractor from Vrsar. In the
vicinity the atelier - summer mansion of the sculptor Dušan Džamonja is
standing. In the large park miniatures of his works are exhibited, whereas
the originals are located all over our country, as well as abroad.