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PP-31.13.1 + (do natpisa nismo mogli doći, već smo ga slikali izvana; u slovima je crna boje, trapezoidnog oblika Centered. Made by a famous self-taught artist.)

PP-18.1.8 + ('HOC TEMPLUM' is smaller, placed to the left, differently made and without ink. The rest has a well-preserved ink. 'A(NNO) 1923.' is to the right, but has ink and is more similar in shape to the main part. Nedostaju dimenzije.)
PP-21.1.2 + (Boris Vučić Šneperger ([[:Vučić Šneperger 1995|Vučić Šneperger 1995]]: 339, n. … Boris Vučić Šneperger ([[:Vučić Šneperger 1995|Vučić Šneperger 1995]]: 339, n. 13) published the text with a transcription: B * VICTORIAE * V* M * CORPVS*IN * HANC * DEIPARAE * AEDEM *EX * ALMA * VRBE * TRASLATVM *KAL * IVN * MDCLXXBARTH * PETRONIO * CO * CAPIO * PET * ABB * TAIAPIERA * ARCHNina Kudiš ([[:Kudiš 2007|Kudiš 2007]]: 288, n. 14) published the text with an interpretative transcription made by Nenad Labus: B(EATE) VICTORIAE V(IRGO) M(ARTIRI) CORPUS/ IN HANC DEIPARAE AEDEM/ EX ALMA VRBE TRANSLATVM/ KAL(ENDAE) IVN(II) MDCLXX/ BARTH(OLOMEUS) PETRONIO CO(MITE) CAP(ITANEO)/ IO(HANNES) PET(RUS) ABB(ATE) TAIAPIERA ARCH(IPRETE). Damir Tulić ([[:Marković, Matejčić, Tulić 2017|Marković, Matejčić, Tulić 2017]]: 238-239) published a scheda with a transcription: B. VICTORIAE. V. M. CORPVS/ IN HANC DEIPARAE. AEDEM./ EX. ALMA. VRBE. TRANSLATVM./ KAL. IVN. MDCLXX./ BARTH. PETRONIO. CO. CAP./ IO. PET. ABB. TAIAPIERA. ARCH. For the description of the altar, see PP-2.1.1.Dark marble. Centered text, slightly irregular capitals, last two lines have a bit smaller letters. 'I' has a dot.https://www.ceeol.com/search/book-detail?id=1221568eeol.com/search/book-detail?id=1221568)
PP-8.4.5 + (Centered text. Poredati ova četiri natpisa (8.4.2-8.4.5) tako da slijede smisao. From the Service of Consecration of a Church Building. Cf. Mt 7,24)
X-O.2.1 + (Crkva je srušena polovicom 20. st., a natpis je zajedno s preslicom ugrađen u zid privatne kuće. Zbog nedostupnosti ga nismo mogli izmjeriti. The text is centered.)
PP-4.2.1 + (Crkva se nalazi u Kostanjici, u blizini lo … Crkva se nalazi u Kostanjici, u blizini lokve.Natpis je fragmentarno sačuvan i ugrađen u pročelje crkve naopako.Ne ulazi u katalog.Pročelje – natpis spominje sv. Mariju i Kostanjicu - 1300. gotica - uzidan naopako pri preuređenju u 2. ½ 17.st - gradnja crkve povezana je s pulskom katedralom - CHASTAGNO MARIA- Sveci relikvije u pulskoj katedrali - 2. i 3. red: BAXEIO SALAMON DIMITRI (Blaž, Salomon, Demetrije)- dio koji nedostaje: Flor, Juraj, TeodorIspod glavnog oltara pulske katedrale 5 relikvijara - sv. Jurja, solinski biskupi- mučenici - sv. Teodora, solinski biskupi- mučenici - sv. Dimitrija, (Sirmij?)- sv. Bazilija, priznavaoc- sv. Flora i - bl. Salomona, bivšega ugarskog kraljaKada je i u kojim okolnostima naručena gradnja crkve i njezino uređenje nije poznato, ali ona je bila na neki način usko povezana s pulskom katedralom. O tome svjedoči u zapadno pročelje crkve uzidan naopako okrenut natpis na okrugloj gotici kojemu nedostaju lijevi, desni i gornji dio, i koji spominje Kostanjicu kao CHASTAGNO. Autor natpisa spominje svece čije se relikvije nalaze u pulskoj katedrali pa u drugom i trećem redu kleše: … BAXEIO • SALAMON … DIMITRI • zazivajući sv. Blaža, sv. Salomona, sv. Demetrija; u otkrhnutom dijelu vjerojatno je zazivao i sv. Flora, sv. Jurja i sv. Teodora u. U posljednjem se redu spominje titular naše crkve - MARIA. Ovako fragmentaran našao se vjerojatno u pročelju crkve prilikom novog preuređenja u drugoj polovini 17. stoljeća.reuređenja u drugoj polovini 17. stoljeća.)
PP-23.4.5 + (PP-23.4 sekundarna pozicija na ulazu u sakristiju, ali izgleda da potječe iz Sv. Germana. Dva natpisa na jednoj ploči. Lower left part is lacking. V. [[:Krnjak, Radossi 2002|Krnjak, Radossi 2002]]:364)
PP-18.13.2 + (Text is centered, in small capitals, all i … Text is centered, in small capitals, all initials are large.Molim nadodati fotografiju cijelog oltara.Nedostaju dimenzije.Dana 08. veljače 2025. godine pregledan natpis i ustanovljeno je da se ispod do sada registriranih 4 reda natpisa nalazi i peti red koji je jako oštećen, ali smo ga uspjeli rekonstruirati. Pogledaj da li je dobro označen diplomatički. Slova tog retka su manja od prethodna 4, iako pisana na isti način, nije nam jasno da li je dio istog natpisa.nije nam jasno da li je dio istog natpisa.)
PP-21.1.1 + (The altar is placed in a protruding apse r … The altar is placed in a protruding apse raised by two steps. Its stipes are decorated with inlays of colorful marble. The altar is placed in a apse. In the central part of the altar is a painting made by Girolamo Pellegrini (1624 – after 1700) with a scene of the Annunciation. The altar is flanked with Corinthian columns that support a semicircular pediment with a central protruding console. The rear part of the altar is made of stone blocks, on which there are two donor inscriptions. The inscription on the south side is transcribed here. Kudiš believes that the altar was modeled after the one of Our Lady of the Rosary from the Paduan church of St. Anthony, work of Baldassare Longhena (1598 – 1682).1) Tulić agrees and adds similarities with the main altar of the Franciscan church in Zadar and with the former main altar of the church of San Daniele di Castello in Venice, but also similarities with the altars of Giuseppe Sardi and Alessandro and Paolo Tremignon.2) From this altar, a marble reliquary containing the remains of Saint Victoria was transferred to the altar of the Holy Sacrament in 1709, and arched passages were added to it in the mid-18th century. Arched passages left and right were added to the altar in the mid-18th century. This altar is considered to be the most significant 17th-century altarists work in the Diocese of Poreč and Pula.The text is centered. The first line (name) is larger than the rest. The letters are straight, but not entirely regular.'A' has a bent pointed crossbar. 'I' has a dot.Boris Vučić Šneperger ([[:Vučić Šneperger 1995|Vučić Šneperger 1995]]: 339, n. 13) published the text with a transcription: HERMOLAI * GRIMANIRELIGIOSA * MUNIF*ECCL * HANC * XP'I * SPONATAAN'VIS * DOTAVIT * REDITIBPLVRIMIS * DITAVIT * MUNERIBHVIVS Q'XARAE *PIA * DECORAVIT * ERECTIONENina Kudiš ([[:Kudiš 2007|Kudiš 2007]]: 288 n. 14) published the text with an interpretative transcription made by Nenad Labus: HERMOLAI GRIMANI/ RELIGIOSA MVNIF(ITIENTIA)/ ECCL(ESIAE) HANC XP(IST)I SPONATA (SUE SPONTAE)/ ANVIS DOTAVIT REDITIB(US)/ PLVRIMIS DITAVIT MVNERIB(US)/ HVIVSQ(UE) ARAE/ PIA DECORAVIT ERECTIONE. Davor Tulić ([[:Marković, Matejčić, Tulić 2017|Marković, Matejčić, Tulić 2017]]: 238-239) published a scheda with a transcription: HERMOLAI. GRIMANI/ RELIGIOSA MUNIF./ ECCL. HANC. XPI. SPONATA./ ANVES. DOTAVIT. REDITIB./ PLVRIMIS. DITAVIT. MVNERIB./ HVIVSQ. ARAE./ PIA. DECORAVIT ERECTIONE. He reads the name of the donator as Almorò Grimani.1) [[:Kudiš 2007|Kudiš 2007]].2) [[:Vučić Šneperger 1995|Vučić Šneperger 1995]].neperger 1995]].)
PP-10.3.4 + (The inscription commemorating dedication o … The inscription commemorating dedication of the church.Rectangular marble plaque with square extensions at the corners. The text is centered. The letters are engraved and painted in black (the paint peeled off in some places). Above the plaque is a relief decoration with volutes, made of limestone.ecoration with volutes, made of limestone.)
PP-3.1.1 + (The inscription is located in the center o … The inscription is located in the center of the triumphal arch of the church, within an almost trapezoidal field with a molded edge. The letters of the inscription are carved and painted in black, while the remaining surface of the field, as well as the triumphal arch, are painted white. The inscription contains a text from the New Testament: "Behold, the tabernacle of God with men" (Revelation 21,3), along with the year of the church's construction, 1893. The church was built on the site of an older, smaller church with an adjacent cemetery and bell tower. At the end of the 19th century, the reconstruction of St. Agnes Church began, and the cemetery was relocated. The design for the new church was made by architect Andjelo Meyer in 1891. The church was constructed during the tenure of parish priest Andrea Bylica and was consecrated in 1894 by the Bishop of Poreč and Pula, Ivan Krstitelj Flapp. The church is a three-naved basilica with an apse and two bell towers. Both bell towers were completed in 1912.The inscription was not measured because of the height.on was not measured because of the height.)
PP-3.1.3 + (The inscription is located on the square b … The inscription is located on the square base of the aspergillum in the northern nave. The year is carved on the front, upper side of the square plate of the base. Above it is a molded circular base, a column with a cylindrical body featuring multiple horizontal grooves, and at the top, a basin for holy water. The basin, shaped like a shell with relief projections on the outer side, has a molded edge at the top. The aspergillum was made after the construction of the new church, based on the older aspergillum located in the southern nave.The church was built in 1893 on the site of an older, smaller church with an adjacent cemetery and bell tower. At the end of the 19th century, the reconstruction of St. Agnes Church began, and the cemetery was relocated. The design for the new church was created by architect Andjelo Meyer in 1891. The church was built during the tenure of parish priest Andrea Bylica and was consecrated in 1894 by the Bishop of Poreč and Pula, Ivan Krstitelj Flapp. The church is a three-aisled basilica with an apse and two bell towers. Both bell towers were completed in 1912.. Both bell towers were completed in 1912.)
PP-31.1.2 + (The inscription is located within a stone … The inscription is located within a stone tabernacle embedded in the wall of the northern aisle of the church. The tabernacle originates from an earlier church. Traces of color are visible on it, suggesting that the tabernacle, in addition to its relief decorations, was originally adorned with painting. The upper part of the tabernacle has a compartment (with metal doors) framed by a wreath of vine, and at the corners, in medallions, are symbols of the four evangelists. To the left and right of the compartment, there is a shallow niche, vaulted with a shell-shaped dome and a cupola, bordered by small columns. Next to the niches, there is a half-column and a pilaster, and above them stretches a wreath made of two rows of leaves. The lower part of the tabernacle is occupied by an inscription, executed on a scroll, which is supported by two naked angels.The lower part is almost cracked in the center, and the crack is filled with a bonding material.Text justified left and right. material. Text justified left and right.)
PP-19.1.11 + (The sculptures of angels are made of Carrara marble. The dimensions of the altar are: height 705 cm, width 390 cm. The height of the angel sculptures is 163 cm. Nedostaje prvi dio prijevoda.)
PP-31.20.2 + (romboidno okrenuto, svako I ima točku, tj. minuskulno je; u slovima je dobro očuvana boja duljine stranica: polje - 480 x 475, nositelj: 482 x 477 The text is centered. 'I' with a dot above. 'A' with bent crossbar.)