APA 6th Edition Ratkovčić, R. (2004). Zidne slike u crkvi sv. Duha u Balama. Peristil, 47 (1), 15-24. Retrieved from https://hrcak.srce.hr/151586
MLA 8th Edition Ratkovčić, Rosana. "Zidne slike u crkvi sv. Duha u Balama." Peristil, vol. 47, no. 1, 2004, pp. 15-24. https://hrcak.srce.hr/151586. Accessed 21 Nov. 2019.
Chicago 17th Edition Ratkovčić, Rosana. "Zidne slike u crkvi sv. Duha u Balama." Peristil 47, no. 1 (2004): 15-24. https://hrcak.srce.hr/151586
Harvard Ratkovčić, R. (2004). 'Zidne slike u crkvi sv. Duha u Balama', Peristil, 47(1), pp. 15-24. Available at: https://hrcak.srce.hr/151586 (Accessed 21 November 2019)
Vancouver Ratkovčić R. Zidne slike u crkvi sv. Duha u Balama. Peristil [Internet]. 2004 [cited 2019 November 21];47(1):15-24. Available from: https://hrcak.srce.hr/151586
IEEE R. Ratkovčić, "Zidne slike u crkvi sv. Duha u Balama", Peristil, vol.47, no. 1, pp. 15-24, 2004. [Online]. Available: https://hrcak.srce.hr/151586. [Accessed: 21 November 2019]
Abstracts Fragments of wall-paintings in the church of the Holy Spirit in Bale had been visible underneath later layers, and recorded in scholarly literature. In the course of restoration works in 2000-2002 the upper layers were removed and the entire fresco cycle was cleaned. It consist of a Christological cycle on the side walls, a Throne of Grace with Saints on the altar wall, and the scenes of Hell and Paradise on the exit wall. This article deals with iconographic, stylistic and morphological analysis of the paintings, and their place among the known and published fresco cycles in Istria. The wall-paintings are most likely a work of two masters. The author of the Throne of Grace and the Saints on the altar wall is close to Master Albert from Konstanz, whereas the Master of the Christological cycle on the side walls is related to the artist who made the wall-paintings at St. Michael in Pićan. In each case a mix of Italian and Continental elements along with features of the "soft style" of Central Europe, and of the art of the foothills of the Alps is noticeable. This indicates a date around the middle of the 15'" century. Signed and dated paintings by Master Albert at St. Vid at Paz (1465), and St. Juraj at Plomin (1471) provide a more precise time frame. The features of the painting of the foothills of the Alps that the two artists share, as well as a possibility of their close collaboration in the scene of the Adoration of the Magi, indicate that they may have belonged to the same workshop.