Hvar Island tourist information

Car ferries from Split can only reach Stari Grad, but in summer local buses and cars to Hvar City will pass through the ferry terminal. Trg Sv Stjepana Square is located in the city center, 100 meters west of the long-distance bus station. The ferry to Riva docks at the eastern pier, in front of the Pelegrini Travel agency.

Mengola Travel provides information on private homes for rent.

Pelegrini Travel provides information on private homes for rent.

Tourist Office (Trg Sv Stjepana; business hours: June to September, Monday to Saturday, 8am~1pm and 5~9pm, Sunday 9am~noon; October to May, Monday to Sunday Saturday 8am~2pm) in the arsenal building. The flavor of medieval Hvar is most vividly reflected in the back streets of the Old Town. At each end of Hvar there is a monastery with a beautiful tower. The Church of St Marko (Church of St Marko), located at the front of the bay, was severely damaged by the Turks in the 16th century. You can visit the Archaeological Museum (Arheolo?ki Muzej) built on the ruins of the church; admission fee is 10 kuna; opening hours : June to September 10am to noon).

There is a fascinating building at the southeast end of Hvar, which is the Franciscan monastery built in the 15th century Renaissance; business hours: June to September, Christmas Week and Holy Week 10am to noon and 5-7pm), and there is also a museum (ticket 10 kuna; opening hours: June to September, Monday to Saturday, 10am-noon and 5-7pm).

The Gothic Arsenal is located in the center of Hvar, and the huge arch can be seen from a distance. Not far from the terrace above the Arsenal is the pride of Hvar - Europe's first municipal theater (ticket 10 kuna; opening hours: June to September 10am-noon and 5-7pm), built in 1612.

There is a Venetian fortress (built in 1551) on the top of the hill. You can have an unobstructed view of the city from the top of the hill, which is worth climbing. Depart by yacht to the Pakleni Islands, famous for nude sunbathing. Built in the 9th century AD to commemorate the saint Saint Mark, it combines various architectural styles such as Byzantine, Gothic, and Islamic. The church is decorated as lavishly as possible and displays many of the trophies plundered from Constantinople by the Venetian Crusaders.

Built to commemorate the Twelve Saints of Jesus and collect trophies, it was built in the 9th century AD and completed in 1094. It later suffered a fire and was restored to its current size. The highlight of the church is the Psaa'oro located behind the central altar. It was first built in 976 AD and has been repaired and inlaid with gems many times since. It is very beautiful.

The Treasure Hall on the right side of the church collects and displays the trophies brought back from Constantinople during the Crusades in 1204. The design of this chapel reflects Barragán’s desire for a mysterious, sacred religious space and his love for traditional monastic architecture.

The design of the chapel makes full use of the original exterior walls of the monastery, and creates a religious atmosphere of silent introspection in the monastery through the application of light and color. By modifying a few architectural elements and changing the lighting, each room is enriched. Furthermore, the various colors of the stucco coating on the latticework, wooden floors and concrete walls clearly reflect the character of these rooms. The simplicity of the materials and the simplicity of the style express consideration for the atmosphere required by the convent residents, who are members of strict religious orders.

Barragán made precise calculations of the natural lighting effects of the chapel at different times of the day, and the use of light became the main decorative element. Natural light passes through the yellow wooden grilles and stained glass windows, is filtered and transformed, and is reflected by the gold foil above the altar. It shines on the lemon yellow walls, which is natural and soft, giving the entire interior a warm tone. In particular, a hidden beam of sunlight shines directly on the cross through the yellow glass window, and projects its silhouette on the wall of the altar, giving people a solemn and mysterious feeling.

Matthias Goeriz Matilda designed a stained glass window inside the chapel. The yellow tint of the windows adds some golden light to the interior of the chapel, making the entire space more harmonious with the light wooden floors and pale yellow walls and trellises.

A pool with black walls is designed outside the church. The skylight reflected from the water surface shines into the interior through the concrete grille, thus creating a vivid dialogue between indoors and outdoors.