Andrija Kačić Miošić Square, the largest town square, with his monument placed in the center, is located near the waterfront in the centre of Makarska. A variety of entertainment and other events take place in the square. It is named after the most significant poet, not only of the Makarska Riviera, but also of the entire Dalmatia. He is the author of the most popular book in Dalmatia, which has so far undergone 64 editions, "Pleasant Conversation of the Slavic People" (Razgovor ugodni naroda slovinskog). Andrija Kačić Miošić’s monument was made by the famous Croatian sculptor Ivan Rendić.
The statue was erected in 1890 as a result of the national awakening. Back then, the Croatian people launched numerous initiatives to commemorate important events and people who had contributed to the Croatian culture and history. The costs of making the statue were paid by donations from the people all over Croatia, and on the day of the unveiling ceremony, many came to Makarska to attend the big event. The constituent part of the statue was a mosaic in the shape of a kilim, depicting the coat-of-arms of all the countries mentioned by Kačić in his "Pismarica" (Songbook, which is how Dalmatians used to call Pleasant Conversation of the Slavic People). The armorial bothered the government in Vienna, which took it as a sign of striving for the unification of Croatian territory that was divided at the time, and hence forbade it. The statue was therefore incomplete, which infuriated the sculptor Ivan Rendić who deliberately missed the unveiling ceremony. However, the armorial was preserved and was put where it belonged in 1922.
The central town square in Makarska, the Square of friar Andrija Kačić Miošić, is one of the most beautiful squares along the Croatian coastline. The square owes its uniqueness to several spatial curiosities: an extremely spacious slope bordered by Late Baroque rows of family houses and palaces from the east and the west; a Venetian drinking fountain built in 1775 in the north-east corner of the square; a central bronze statue of the Croatian poet friar Andrija Kačić Miošić (author: I. Rendić, 1890); the Late Baroque Church of St. Mark rising on the elevated northern part of the rectangular town square. A grand stairway and an elevated terrace lead to the church. The structure dominates the entire space. For urban purposes, the main front facade faces the spacious square and the south with a steep slope serving as the church’s background. Once the sole cathedral of the Diocese of Makarska, and today one of the two cathedrals of the Diocese of Split-Makarska, named after St. Mark the Evangelist, this church is a symbol of the renewed diocese of Makarska.
Built in several phases starting from 1700 until its dedication in 1766, this church is the result of the efforts of two bishops of Makarska: the commitment of Nikola Bijanković (1699-1730) and his successor Stjepan Blašković (1731-1776). Several builders worked on the church, but the Venetian military captain and engineer Bartol Riviera finished it. The cathedral is a wide single-nave church with a semi-circular apse, side chapels and a bell tower. The main southern façade is in essence a tall and relatively narrow wall ending with a triangular gable with a prominent, profiled corona. The wide wall surface is flanked with shallow lesenes. The rose window and two elongated windows on the side are features of traditional Dalmatian construction dating back to the Romanesque period. The main door has a profiled door frame and is topped with a semi-circular, broken gable with Baroque characteristics. The arrangement of openings serves to accentuate the play of light and shadow. The bell tower with its belfry openings and a pyramidal spire matches the simplicity of the façade. The oldest part of the church is the chapel of the Blessed Sacrament located on the eastern side of the building. The Latin inscription found on the lintel of the chapel’s door with renaissance characteristics attests to the initial phase of the construction.
Once a baptistery and now serving as a sacristy, the smaller west chapel is situated between the bell tower and the body of the church. An elevated sanctuary separated from the nave by a wide triumphal arch lays under the barrel vault. The walls are interspersed with profiled pilasters and arches that form three shallow and high niches housing marble altars. The pilasters have high plinths and profiled capitals with shallower and narrower pilasters flanking them up to the corona. The upper portion of the small niches in between the pilasters is intended for statutes, while the lower portion houses confessionals that thus become a part of the interior. The corona leads to a barrel vault with two Baroque openings, which along the openings on the main façade ensure enough light to illuminate the church interior. The pilasters with profiled arches continue on into the semi-circular spacious apse. These arcades are lower and narrower than the ones on the side walls of the church, but stay visually connected to the rest of the church, thus making the entire space a harmonious whole. A slim Late Baroque bishop’s chair made out of coloured marble sits in the central arcade. The grave of the Servant of God Nikola Bijanković rests in between the altar and the bishop’s chair, containing the inscription “dust, ashes and nothing”.
The interchange of protrusions and recesses, stone and plaster, upper and lower niches, uneven walls and the wide barrel vault creates a peaceful plasticity of the church interior. The 18th and 19th century marble altars further increase the cohesion of the Baroque interior. The first west altar of Our Lady contains a portable altarpiece with 15 medallions depicting scenes from Mary’s life and angels holding symbols. The altarpiece is signed by Tironi, a painter from Brač, and it has the year 1787 inscribed on it. The altarpiece contains a wooden late Byzantine statue of the Madonna and Child within a Neo-Renaissance tabernacle. The altar of the Sacred Cross is a juxtaposition of black marble and white stone decorated with a group of coloured wooden statues representing the Way of the Cross. The upper bodies of the crucified Christ, the Blessed Virgin Mary, St. John and St. Magdalene are in true Baroque style. The eastern side contains the Late Baroque altar of St. Clement built in 1770. Although its altarpiece and sarcophagi do not hold any artistic value, its content is of major spiritual and religious significance for Makarska and the surrounding areas. It was constructed to hold the relics of the Saint that are preserved in the two-piece marble sarcophagus with a brass lid. The worship of St. Clement the Martyr was spread among believers by Bishop Nikola Bijanković, who proclaimed him the patron of the Diocese of Makarska.
His feast day was set to 21 November, and it was thanks to him that the cathedral received the relics of the Saint in 1725. Until the completion of the cathedral, the relics were kept in the home of the noble Kačić family, as attested by the Latin inscription and the embossed coat of arms of the Kačić family above the altar. Frane Monti, a sculptor from Split, carved in 1878 the marble altar of St. John of Nepomuk, and later on the altar of St. Anne and the altar of St. Roch. Previously located in the centre of the sanctuary, nowadays the main altar is found in the chapel of the Blessed Sacrament. It was carved by the famous master sculptor Pietro Onigha in 1786 out of coloured marble. Its centre is occupied by a tall tabernacle richly adorned with 6 small posts holding a bulb-like globe on top of which sits a small upright statue of the risen Christ. The side bases were masterfully sculpted into marble statues of the patrons of the Makarska Cathedral, St. Mark the Evangelist and St. Jerome. Holding a classical pose, they are quite voluminous with stylised and soft drapery and idealised facial features. The altar frontal is decorated with a relief medallion depicting the Last Supper, while the altar stone and the dome are embellished with various geometric shapes. This altar is the most beautiful Baroque sculptural piece in Makarska.
The design and construction of the altar achieve the balance between the open lines and dynamic sculptural pieces. The grand wooden, polychrome statutes of angels with candle holders were carved by Venetian artists in 1634. Forming a rhythmically harmonious whole, the ease of their movement is accentuated by the flowy drapery and curved candle holder. The 14 images showing the Stations of the Cross were painted in the 18th century Venetian painting style. The 18th century style of the consecrated painting of the Sacred Heart is attested by the silver Neo-Rococo frame enclosing the inscription about the plague that decimated the town and the surrounding areas in 1815.The small altar of St. John rests in the former baptistery. This is the last wooden altar that adorned the church before all altars were replaced with marble ones.
The stone altar stone is adorned with marble intarsia, while the upper portion with two posts is wooden and exhibits the masterful work of 18th century Dalmatian carving workshops. The sacristy includes the treasury of the Makarska Cathedral. Liturgical objects such as reliquaries, chalices, thuribles, crosses, monstrances and ciboria date from the end of the 17th century to the beginning of the 20th century. They were made in foreign, and rarely domestic, workshops. Most were manufactured out of silver by using techniques such as casting, repoussé, engraving and chasing, and are as ornate as can be expected of the 18th century Rococo style. Evidence suggests that the Makarska Cathedral, the Church of St. Mark, was richly adorned with church furnishing and objects. At the time of the construction, it was a turning point in the spiritual renewal of the town, and its position affected the design of the main town square that became the starting point of the future development of the town. Today, it is a protected Late Baroque urban complex.
On the other side of the Makarska harbor is the Franciscan Monastery of the Blessed Virgin Mary. Its construction began in 1502, and through the following centuries the building expanded; a new church was built, along with a new cloister and a bell tower. The Monastery collection includes valuable works of art, documents and church furniture. In front of the old Franciscan church is a medieval headstone (stećak) from the 14th or 15th century depicting young people who are dancing. The Franciscans came to Makarska in the late 15th century and settled outside the settlement near St. Mary's Church. In 1518, it was declared a monastery, which was destroyed for military reasons by the Venetians in 1572 during the War of Cyprus (1570 – 1573). The Turks also demolished the church later on. It was damaged again during the Cretan War in the 17th century when the Turks set on fire part of the monastery along with the church, and the other part was damaged in an earthquake in 1667.
In 1969, a joint Franciscan Theology School of Franciscan Province of the Most Holy Redeemer and of St. Jerome was founded both in Makarska and Dubrovnik. The School merged with the Catholic Faculty of Theology of Zagreb in 1971. In 1999, the Makarska Theology School merged with the Theology School of Split Archdiocese in Split and the Catholic Faculty of Theology of the University of Split was thus established. The Makarska professors started the scientific paper Nova revija (New Journal) (1922 - 1944) and published a series of reference books from the seminary library.Throughout many centuries of the monastery’s existence, the Franciscans have created a library that now holds around 5000 books, 24 incunabula, many journals and manuscripts. The Monastery owns a rich archive in which 369 Turkish documents have been stored. In 2002, the statue of Friar Teacher was erected in front of the Monastery and the Church, which is the work of academy-trained sculptor A. Jurkić. The Franciscans also held St. Mary's Church, which was built around 1400. It was first mentioned in 1502 when the Turks allowed its reconstruction. There is also the Malacological Museum in the premises of the Monastery.
The Church of St. Philip Neri was built in 1758 in the central part of the Makarska waterfront. With its facade and a separated bell tower, it fits perfectly with the houses surrounding it. One of them is the former house of the Oratory of St. Philip Neri, founded in Split in 1676 by Nikola Bijanković. The Church was built in the Baroque style, with barrel vault and semi-circular apse. Its construction was initiated by Bishop Stjepan Blašković in 1758. The shape of the Church corresponds to a cathedral, except for its smaller size. The tomb of Stjepan Blašković is placed on the right side of the main altar. The only thing that has remained from the former main Baroque altar is the altar stone, which was renovated after the earthquake. In the nave of the church are four Baroque marble altars with altarpieces. Seven canvas paintings depicting the life of St. Philip are placed on the choir fence. In 1968, the Church was declared a cultural monument. Church services are held there few times a year.
Traces of prehistoric settlements, as well as some parts of late antiquity and Venetian architecture can all be found on St. Peter's Peninsula. St. Peter's Church, marked even on the oldest maps dating from the 16th and 18th century, was reconstructed based on the appearance of the previous church from the 15th century, which was built on the foundations of its forerunner from the 6th century. The oldest part of the Church is the late antiquity wall of the cistern and the semi-circle apse of the Early Christian Basilica. Sometime later, the Church got the Gothic vault, Gothic windows and rosette. It did not survive the Ottoman era and was renovated in the 18th century. It was devastated after the earthquake in 1962, and the remaining parts of the Church were thrown into the sea during the communist regime. In 1992, the Church was renovated according to its appearance from the 18th century.
The Church was built in the place of an old one from the 15th century, under the pastorate of pastor Tomislav Ćubelić. It was badly damaged in the earthquake in 1962. The following year, during the afternoon Good Friday church service, the remains were completely destroyed and thrown into the sea, by order of the ruling municipal authority. It was renovated and extended multiple times; in the 15th century it probably acquired the Gothic form and in the 18th, the Baroque form. It was covered in stone. External dimensions of the church were almost 17 m long, 7 m high and almost 7 m wide.The new church was modeled on the old church.
The parish church of St. Jerome located in Veliko Brdo was built in 1745 and consecrated on October 24, 1756. It is a simple building with a stone rosette on the facade and a bell-cot with three bells, built in 1879 and renovated in 1937. The church has a gothic vault. The main marble altar was upgraded in 1956 and a painting of St. Jerome was placed on it, the work of Gabrijel Jurkić. The nave has two side altars made of stone and marble: the altar dedicated to Our Lady and to St. Joseph. Mary and Jesus have silver crowns on their heads. On the triumphal arch in the niches are two small baroque statues of St. Francis and St. Anthony. The church was painted both from the outside and the inside in 1998, and new benches were acquired. In 1999, a cement table was put above the sacristy and the roof was changed. In 2004, electrical installations were replaced and the bells were electrified.On the foundations of an old wall around the Church, a new cement and stone wall was built with two impressive crosses at the entrance, and the church entrance hall was paved with stone blocks. In 2005, a 2,20 m high statue dedicated to Fra Ante Antić (1893 - 1965) was built on the occasion of the 40th anniversary of his death. It is the work of academy-trained sculptor Prof. Petar Barišić.
St. Michael's Church was a parish church until 1745. It is mentioned for the first time by Turkish inspector Osman-aga and then in the report submitted by the bishop of Makarska Fra Marijan Lišnjić to the Holy See in 1672. An altarpiece from the Church has been preserved - the painting of St. Michael from 1684, the work of Matteo Ottoni Scopuli. It was mended in 1844 by Franjo Kaer and then restored again by Mr. Slavko Alač in 1998. Because of humidity within the Church after the earthquake in 1962, the painting was temporarily placed in the Parish Church of St. Jerome on the altar dedicated to Our Lady. Today, it is located in the Franciscan monastery in Makarska. Mr. Alač also restored one statue of Our Lady from Žlib, and it is now placed in a niche of St. Jerome's Church, where a statue of St. Francis used to be. The old church was torn down and the new one was built in its place in 1873. It has been damaged since the earthquake in 1962, and it needs a complete renovation. The parish priest of Veliko Brdo lives in the monastery in Makarska. Next to the Church of St. Jerome is a small Church house, which has recently been renovated.
The Parish Church of St. John the Baptist is located in Makar. It was built in 1854 on the site of an older church, which began to be constructed at the initiative of Friar Ivan Kačić Mitrović and was continued in 1602 under Friar Pavao Kačić Jakić. The Church is significant for its inscription regarding its construction from 1612 that was written in Croatian. It ends with the verses that are the oldest evidence of literary work in the Croatian language in the Makarska area.
The new Parish Church of the Queen of Peace has just been completed. The construction started in 1999 after Pastor Stipe Ljubas obtained all the necessary documentation. The Church is located in the Zelenka area.The front of the Church is dominated by a tall bell tower. There is also a pastoral center with residential premises and necessary facilities. The whole center has the surface of 1700 m2, 350 m2 of which takes the Church.
Family Ivanišević-Uzmenović is mentioned among the most renowned Makarska families after the Turks left at the end of the 17th, and throughout the 18th and 19th centuries. Together with several other families, they were part of social class that made the greatest contribution to the spiritual and material development of Makarska and its area. In the small Lištun Square, situated next to Kačić Square, a Baroque palace was erected - the house of the Ivanišević family. It reflected the taste and wealth of the aristocracy of Makarska, and it now represents the most beautiful monument of palace architecture in the town. At the beginning of the 18th century, the Ivanišević family erected the two-story open-porch palace with wooden fence posts, and its eastern wing had economic function. The Palace was damaged in WW II and is still awaiting complete reconstruction.
On the way to the big town beach, you will pass by another palace - the Tonoli House. It was built at the end of the 18th century by Venetian doctor named Tonoli. He built the house for himself and his family as a luxurious building just outside the town center. Today, the Makarska Town Museum and the Makarska Tourist Board are located there. Upon graduating from Medical School in Padua in 1804, Luigi Tonogoli worked as a doctor and surgeon in Makarska from 1807. He was prominent during the battle against the plague in 1815, which he wrote about in his manuscript "Observationes in Pestem Macarensem anni MDCCCXV". The manuscript is now kept in the Library in Forli in Italy. On the western side of the Makarska seafront, he built a two-story building in the style of Late Baroque, where the Town Museum is now situated.
The house still bears his name, the Tonoli Palace.Several ancient family palaces and houses have been preserved, mostly from the 18th century when the Turks left the town and the trade started. Many of them were reshaped, renovated and some of them even disappeared due to many radical additions and alterations. On some of the houses you can still see the stone balconies at the center of facade, portals and windows placed in the middle of the building and sometimes on both sides of the roof. The wide door usually has an arch, which is also a common feature of the country houses of the Makarska Riviera. However, in terms of houses and palaces located in the town, the arch gained a more elegant and noble look, with different profiles, relief decorations and Baroque style. Some arches also include coat-of-arms of noble families, but without any inscriptions, which would normally be there. In addition to the Tonoli Palace and Ivanišević Palace, some other houses worth mentioning are: the Alavič house, which is located in one of the oldest streets of Makarska, the Vuković house, the Karlipeo-Mrkušić house and the Kačić-Peko family palace.
It is difficult to state with certainty the reason why the eastern entrance to the town was chosen as the location for St. Cross Town Cemetery, which was established in 1832. Perhaps it was due to some former burials in the place, or because of a southeastern burial site of those who died from plague. That was the case of Sustjepan Cemetery in Split, which was formed and consecrated in 1821 after numerous burials during the plague outbreak. Without doubt, one of the key elements in placing the cemetery in Makarska right at the eastern entrance was the convenient position, i.e. the distance from the town’s border. It aligned with the French regulation from 1808 on placing cemeteries outside settlements and churches, although it had not been fully complied with until the time of the Austrian rule, starting from 1826.The graveyard’s marking in the cadastral map of Kotiština of 1835 (Villaggio Cottisina…, cadastral municipality 268; map no. X) proves it had kept its elongated surface of 2527,20 m2 until it was expanded towards the east in the 1970s.
Its walls have been preserved, which can be seen in an old picture of Makarska taken shortly after the cemetery was established, as a fence of the old part of the cemetery. At the time, the cemetery was conspicuous even from far away. However, its construction was done without a specific plan. Discussions on disadvantages of unorganized sections of the cemetery without any paths between the graves started as early as 1910. They emphasized the importance of afforestation, which began from 1885 – 1889. It is hard to imagine what the Makarska Cemetery looked like in its beginnings based on imprecise descriptions. Judging from an early 20th century description, the cemetery did not have many representative monuments. Apart from the Neo-Renaissance chapel by V. Pavišić from 1893 and "The Woman Embracing the Cross" from 1902, the work of P. Bilinić, no other monument was particularly pointed out among new additions to the cemetery. The graves were mostly very modest with plain crosses. A few Neo-Gothic metal crucifixes dating from the very beginning of the 20th century have been preserved to this day. St. Cross Cemetery had a lot more headstones transferred from a previous burial site on St. Peter’s Peninsula.
The markings cannot be recognized anymore, because long time has passed since St. Peter’s burial site closed in 1830. Also, personal circumstances have to be taken into consideration such as oblivion and dying of the rest of family members, which is reflected in the disappearance of headstones. It is best reflected in the transferred headstones of noble families from the 18th century from Makarska Cathedral to the cemetery in the early 20th century. Only the Ivanišević family headstone was preserved among the headstones of the nobility. Pastor Petar Kaer drew the headstones in 1914 in order to protect them from falling into oblivion. It is impossible to envision what the cemetery looked like at the time of its establishment by just examining the headstones. We can only guess that the most beautiful ones were put above graves placed in the central part of the cemetery, near the church. With the exception of the decorated headstone with illegible inscription (GREGORIUS KADC…) with engraved year 1838, the earliest headstones of the old part of the cemetery belong to the second half and the late 19th century. Overall, there is about twenty of them, and they are placed all around the Cemetery.
With their size and appearance, and neo-stylistic features, monuments from the second half of the 19th century (The Central Cross from 1872, renovated in the ‘90s, the Miličić-Ivanišević family tomb from 1881, the Pavišić-Riboli Chapel from 1893) are still the most representative elements of the old part of the Cemetery. It did not change significantly after its reconstruction in 1933 until the 1970s when it was expanded beyond the old wall to the east. With decision no. 532-10-11/2-1 by the Office for Cultural Heritage Protection, Conservation Department of the Ministry of Culture of Split, from 25 October 2002, the Cemetery was put under preventive protection. St. Cross Cemetery took on its present-day appearance in 2004 after its renewal by the Town of Makarska. It was expanded, a pathway was made, the morgue was built and also the ceremonial hall for funeral service. The Cemetery has thus been incorporated in a larger horticultural picture.
Makarska was one of the first towns on the eastern coast of the Adriatic Sea that had its own library, and it was more than 250 years ago. Contents of the library, as well as of other libraries that existed in the greater area of Makarska are kept in the Makarska Public Library and represent its core value.It is a public institution established for the purpose of providing library services and standardized as an independent public library, under the provisions of the Library Act. It was founded on March 4, 1995, and its owner and founder is the town of Makarska.
Address: Don Mihovila Pavlinovića 1/1 (p.p.96)
Phone: +385 (0)21 612 042
Important asset to the library collection are books from private collections of donors from Makarska, such as:
- old and rare editions of the Bible, religious and liturgical literature from highly ranked church figures (Mihovil Pavlinović, Andrija Kačić Miošić, Klement Grubišić, Čobrnić etc.);
- historical literature important for Croatian historiography and local history. It was often donated by authors themselves, e.g. Ivan Josip Pavlović Lučić («Marmora Macarensia» and «Marmora Traguriensia»);
- rare and early editions of the national and regional literature of great importance (Andrija Kačić Miošić «Pleasant Conversation of the Slavic People»);
- complete encyclopedic editions, dictionaries, lexicons, especially the 19th century Italian editions - the legacy of Cezar Pavišić. That donation also provided numerous works related to the history in general and particularly to the history of Dalmatia;
- periodics and some rare magazines («Zora dalmatinska» (Dalmatian Dawn), «Sloboda», (Freedom) «Slovinac» (Slav)…);
the donation of pastor Petar Kaer related to archaeological literature and the oldest editions of archaeological professional journals
- a large and rich collection of textbooks since the beginning of organized school education
- collection of almanacs and calendars with some rare samples and updated editions and volumes;
- collection re political life and the activity of Makarska politicians from the 19th and the early 20th century («Brzopisna izvješća Dalmatinskog sabora» (Reports from the sessions of Dalmatian Parliament)
- the first editions of Croatian literature works, printed in small editions (Miroslav Krleža, Ivo Andrić, Antun Branko Šimić, Tin Ujević…)
All around Kačić Square, and especially in the "wide street" Kalalarga can we find traces of the Baroque architecture, which can be noticed on entrance doors, balconies, windows or coat-of-arms carved in stone. The ground plan of the main square and the layout of the surrounding streets have been preserved to this day. Kalalarga was the heart of the city and the main place for events. Every year since 1994, it is the place of celebration known as the Night of Kalalarga, which attracts more and more visitors every year.
At the entrance to the beach, on the Promenade of Franjo Tuđman, there is the statue of the first Croatian president Franjo Tuđman, a work of sculptor Kažimir Hraste.The cast bronze statue is 3,3 m high, placed on a 1,5 m high stone pedestal.
Memory of the fallen soldiers in World War II and the liberation of the Makarska area from fascism and fascist terror. Nowadays, there is an observatory placed within the Memorial Centre where you can enjoy the night sky during clear summer nights.
The public water fountain was built in 1775 by Ioseppo Bisazzio on the southeast of St. Mark's Church. It is still used today for refreshment from the summer heat. The work is significant because of the coat-of-arms that is still used as the official symbol of the town of Makarska, which has been carved on its right side.
The Venetians have left us another mark of their rule - a stone pole for flying a flag, the so-called markovac or štandarac. It is decorated with a depiction of the Venetian lion holding an open book, which shows that the flagpole was built in times of peace.
The monument to Napoleon (or to Marmont) is located at the west entrance to the town, which reminds us of the short-lived rule of the French. The monument, installed south of the Franciscan Monastery in 1808, was actually dedicated to Marshal Marmont. Upon the arrival of the Austrians in Makarska, following the defeat of Napoleon in 1814, the original inscription was demolished and a new one was carved to honor the Austrian Emperor. In 1818, the monument was moved to the place where it still stands today.
At the entrance to the town’s harbour, a beautiful statue of St. Peter stands there. He is the patron saint of the Church, Rome, the pope, fishermen, bakers, butchers, bridge builders, horologists, cobblers, of the hungry and the weak, shipwrights, and of many locations all over the world. The statue is located at the top of St. Peter Peninsula, which protects Makarska's bay from the open sea. St. Peter is holding the keys to Heaven, as Jesus gave them to him in the Gospel of Matthew. People from all over the world visit this valuable religious monument and believe in its protection and strength. The statue is made by the sculptor Tomislav Kršnjavi. It is 3,60 m high and weighs 900 kg.
The Monument to the Swimmer "Bonaca" was made in 2006 to celebrate the 100th anniversary of tourism in Makarska. It is the work of Ivica Šoda-Cotić and depicts a tourist enjoying the sea. The monument, made of marble and bronze, is placed in front of the Town Museum.
The sculpture represents a local man from Makarska named Jura, referred to as galeb (seagull, i.e. ladies’ man in Dalmatia), seducing a female tourist. Galebarenje, the technique of seducing women, was very popular in Makarska. The monument is the work of Nikola Šanjek, a sculptor from Varaždin who also named it “Move with the times”. It is 205 m high, made of bronze, and was erected to honour all tourists visiting Makarska.
In a small park in Osejava stands a monument in honour of the Croatian war veterans, as the symbol of those who died for the independence of their country.
A huge anchor weighing 5300 kg stands in the part of Makarska called Plišćevac. This genuine anchor belonged to the old merchant ship “Makarska” that sank near Marseille in France in 1978. Three members of the crew died when the ship went down. Before that happened, the old anchor was replaced with a new one, which is why we still have this old anchor. It is 3 m high, 2 m wide and almost 1 m thick. It was rusty when it was brought, hence the members of the fishing club Arbun decided to repaint it in its original black colour and they made a stone pedestal for the anchor.