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Churches in the town of Vis
| ||ST. GEORGE'S CHURCH |
|It was probably built in 14th century on the small peninsula located at the entrance to the port of which then took the Saint's name being known today as the Port of St. George. The church is left untended and Mass is no longer served there. There are no works of art and its facade was later reconstructed with a new door being placed between two windows. In 15th century an order of Franciscan hermits lived close to it. |
| ||THE SMALL CHURCH OF OUR LADY OF CAVES |
|The parish church located in the middle of the Port of Vis was named after the natural holes resembling caves and found on the terrain where it was constructed. The church was donated by Frano de Pelegrinis, most probably at the beginning of 16th century. Over time, church gained its current appearance in which Gothic, Renaissance and Baroque elements are interwoven. Its gradual expansion clearly reveals the growth of the population as well as the wellbeing on the island in 17th and 18th centuries, as well as the "Muster" and "Gusarica" churches in Komiža and St. Mary,s in Poselje. |
The church's interior is divided into three naves by wide semi-circled arches on raised pillars. By doing this, the space's uniqueness was created and was illuminated by long, narrow, gothic and Romanic windows.
| ||ST. JEROME'S CHURCH AND MONASTERY |
|Based on the ancient customs of their order, Conventual Franciscan monks built their church and monastery on the most beautiful position of the Port of Vis and dedicated it to the Dalmatian patron, St. Jerome at the beginning of 16th century. The church's exterior is decorated with Renaissance elements of the period. |
The monastery has an unusual, inclined and partially semi-circular shape as it was built on the arches and on the external wall of the Roman theatre's auditorium. Parts of the auditorium can be seen in the monastery's basements and on its northern external wall. The terraces and Renaissance and Baroque bell-tower were added to the unmarked building with small, later walled up steal windows, which had no cloister or monastery disposition.
The use of the Roman theatre's remains, the large garden area and the purpose of making the church approachable for boats from the sea conditioned the unusual distance between the church and the monastery with its bell-tower.
| ||ST. CYPRIAN AND JUSTIN'S CHURCH |
|On the eastern part of the Port of Vis, in the Kut area, built between nearby houses and above the high and picturesque steps, is the late Baroque church and bell-tower of St. Cyprian and Justin. Although it was built later, the steps and church located on the small square amongst the houses are an excellent Baroque idea resembling the large steps of the Jesuit Church in Dubrovnik. On the same spot, at the beginning of 15th century, there was probably a small Gothic church that had been reconstructed at the time. Its parts can be seen from the walled up Gothic window and on the back of the current church which was built in 1742. |
The benefactors, the Fioretti brothers as well as abbots Vidali and Jakša in 17th and 18th centuries lived in Kut and were responsible for the expansion of this church.
This church pertained to the brotherhood whose members were mostly Croatian and Vis noblemen. In September 1706 Aleksandar Gazarović, a public notary and writer of two reviews of Hvar history of which the manuscript still remains, was buried in this church. In the manuscript the families of two Croatian poets were brought together, Marko Marulić and Marin Gazarović as the latter was the former's grandson.
| ||ST. SPIRIT'S CHURCH |
|In the western part of the Port of Vis which is named after this church "Spirit" St. Spirit's Church was either built in the second half of 17th century or at the beginning of 18th century and was still, in accordance with medieval rule, facing west. The builders of this church, due to the limited economic conditions of the 17th and 18th centuries, were not able to accept developed ground plans and luxurious Baroque shapes, but combined the decoration motives of those styles with the medieval and inserted them in the simple walls. |