1625 - Data Points by Date/Period

Žminj, also known as Gimino in Italian, stands as both a municipality and a quaint town nestled in Istria, Croatia, positioned 15 kilometers to the south of Pazin. Perched upon a limestone hill at an elevation of 355 meters above sea level, the town resides between the picturesque Lim valley and the enchanting Raša valley. Its economic pursuits primarily revolve around agriculture and livestock breeding. Žminj serves as a pivotal point, intersecting regional roads that connect to Pazin, Kanfanar, Svetvinčenat, and Labin. This particular region of Istria boasts an array of tourist attractions, stunning landscapes, and remnants of cultural heritage spanning various eras, including the imposing Citadel tower in the historic town center.The municipality, home to 3,360 inhabitants, traces its roots back to 1177 when it was initially referenced as a parish within the Poreč diocese. From 1368 onward, Žminj has been an integral part of the County of Pazin. At the heart of the town stands the striking baroque Parish Church of St. Michael, constructed in 1625 and featuring a captivating three-aisled design.Žminj and its environs are a haven for hiking and cycling tours, attracting enthusiasts while also flourishing as a hub for agritourism across the neighboring villages. The town proudly hosts the Bartulja festival, an annual celebration dedicated to St. Bartholomew, the patron saint of Žminj, held at the end of August in the Church of St. Bartholomew. Among other cherished traditions are the Chakavian Assembly, a spirited competition showcasing young poets and reciters performing in the Chakavian dialect (held in June), and the Harmonica Wedding, a lively accordion-playing competition (held in July). Žminj is renowned for its agricultural fair held every second Wednesday of the month, offering a platform for local produce. The gastronomic scene features exquisite Istrian delicacies such as 'maneštra' (minestra), sausages paired with cabbage, venison served with 'fuži' (a type of pasta), 'supa' (crisp bread in red wine with olive oil and pepper), and the famed wines, teran, and malvasia.

Chungnyeolsa is as a revered shrine where the courageous spirits of those who valiantly fought against the Japanese forces during the invasions of Korea in 1592 find their sanctuary. Initially constructed in 1605 within the South Gate of Dongnae eupseong as Songgongsa by Yun Hwon, Deputy Delegate of Dongnae, the shrine honored Song Sang-hyeon and conducted annual rites. Later, in 1624, under the guidance of Lee Min-goo, it was renamed Chungnyeolsa and also enshrined the spirit of Jeong Bal, a heroic patriot who fell at Busanjin Fortress. By 1625, Chungnyeolsa relocated to its present site, renamed Allak Seowon. It expanded to include an auditorium, Dongseojae, functioning as a repository of ancestral loyalty and scholarly conduct, serving as both a spiritual hub and a library. Further developments occurred over time. In 1709, a separate building memorialized several brave souls alongside Song Sang-hyeon and Jeong Bal. In 1736, these individuals were collectively enshrined at Chungnyeolsa. Then, in 1772, Yun Heung-sin, the Dadaecheomsa, found a place here, and a sanctuary outside the East Gate was erected in memory of Geumseom and Aehyang, who passed away after the earlier heroes. Chungnyeolsa underwent subsequent renovations and now comprises 16 structures, covering an expansive area of 93,448 m2. It houses around 92 memorial tablets honoring those who courageously fought against the Japanese troops in Busan. Annually, on May 25, a sacrificial rite is performed, embodying the gratitude and sentiments of the citizens of Busan Metropolitan City.

The church of San Lorenzo di Coltura is believed to have been constructed or rebuilt in 1221, although there's no longer verifiable documentation to confirm this. Existing records show that as early as the sixteenth century, there was a covered atrium (aldidor) in front of the building. This atrium gained prominence in the late 1800s due to paintings by the renowned Sacilese painter Luigi Nono. The church's current appearance, including its Neoclassical facade, interior featuring Corinthian pilasters, and four side chapels, stems from renovation efforts initiated in 1890. These renovations were prompted by the significant growth in the local population and were completed shortly after World War II. The church's rededication occurred on January 16, 1921, presided over by Bishop Luigi Paulini. This event is commemorated by a plaque above the second side entrance. On June 13 of the same year, Coltura transitioned from a curacy to an autonomous parish. Within the church, there is a high altar constructed in 1763 by the artist Giovan Battista Bettini from Portogruaro. This altar, along with a probable ninth-decade altar of the Blessed Virgin of the Rosary, is believed to have originated from the same workshop. A painting adorning the high altar depicts the Trinity alongside Saints Lorenzo and Stefano. This artwork is attributed to Tiziano Vecellio, also known as Tizianello, who created it in 1625. Tizianello was the nephew of the more famous Cadore artist of the same name but with significantly less artistic renown. Another notable piece from the seventeenth century is an altarpiece showcasing the Holy Trinity, San Michele, and San Lorenzo. This altarpiece hails from the oratory of San Michele, situated above a side entrance. The church's four chapels feature Art Nouveau-style pictorial decorations, including faux coffered vaults and angel-supported scrolls in the lunettes. These decorations were contemporaneous with the temple's renovation efforts. Moving to the twentieth century, several paintings within the church originate from this era. Notably, three works—San Sebastiano, San Floriano and San Valentino, Santa Barbara, and La Pietà—are credited to the artist Salvatore Maldarelli. Additionally, a reproduction of Caravaggio's Deposition of Christ in the sepulcher, housed in the Vatican Pinacoteca in Rome, was gifted in 1991 by the painter Emilio Della Fiorentina, a native of San Giovanni di Polcenigo. Among the sculptures present, one stands out: the Madonna del Rosario statue, crafted in 1909 by Giovanni Costantini from Latisana. Giovanni Costantini is also responsible for creating the 'S Barbara' Workers' Society banner in 1913.

This house was damaged during the fire of Oleviste Church in 1625 along with 40 other buildings in the neighborhood. It was rebuilt in a somewhat different form as a gabled house following the basic two-room diele-dornse arrangement of space. The most remarkable component of the house is the winding stone staircase in the wall between two of the rooms, as well as the preserved beam ceilings. The house has been owned by several decorators and painters and a merchant who was burnt alive for forging promissory notes.

Built in the shape of a Latin cross, the single nave Cathedral of the Apostles St Peter and St Paul is the heart of the Siauliai diocese, which Pope John Paul II created in 1997. The Church is Lithuania's most representative example of Renaissance Mannerist architecture. Completed in 1625, this majestic building with many original architectural elements seems to have been built for defense purposes. The thick walls and compact form of the Church, its bow windows on the main façade and the churchyard gate towers with firing holes are reminiscent of a defense construction. This is further emphasized by the churchyard gate, unique in Lithuania, which stands directly in front of the Cathedral. The image of a well fortified building was achieved by combining local architectural traditions with the examples from Western Europe. Devout souls can often be seen inside Siauliai Cathedral praying in front of its celebrated painting of the Virgin Mary and the Infant.

1625 (5)

Other Dates/Periods

27-03-2021

07-10-2004

30-06-1849

1912

01-05-1885

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