st
ud
ia universitatis
he
re
d
it
at
i
doi: ht t ps://doi .org/10. 26493/2350-54 43.3(2)27–38
Contemporary heritage interpretation trends, aims of alternative and creative tourism as well as rec-
ommendations by the European Council regarding the promotion of European values and the diverse 
European identity form the framework of the present paper which introduces the conceptual proposal 
for a new European Cultural Heritage Route of “Stonemasons and Stones in the Adriatic region”. De-
parting as a follow-up activity of passed EU IPA Adriatic projects, the proposal indicates a comprehen-
sive strategy for capitalising the existing knowledge on stonecrafts in the Adriatic and its specific role as 
transregional and transnational connector. 
Key words: European Cultural Routes, stonemasons, stone, heritage interpretation, tourism
Cultural Route of Stonemasons and Stones in the Adriatic: 
A Conceptual Proposal for the Interpretation and Promotion 
of Cultural Heritage in Limestone along the Adriatic coast
Neža Čebron Lipovec and Katarina Šmid
27
The following Conceptual Proposal for the Interpretation and Promotion of Cultural Heritage and Limestone along the Adri-
atic was based and elaborated not only as the 
continuation and the progress of the knowled-
ge and results that were gained through the im-
plemented activities within the Work Package 
4 - Platy Limestone as Cultural Heritage of the 
RoofOfRock project (IPA Adriatic CBC Pro-
gramme 2007-2013), but also on the experiences 
and good practices regarding the cultural herita-
ge and especially its interpretation gained throu-
gh the other international projects, which were 
carried through the University of Primorska (see 
Chapter VII). 
The Proposal is in line with the principles 
and objectives of the European Agenda for Cul-
ture (issued by European Commission in 2007)1 
and with the modern heritage interpretation 
trends in Europe, as promoted by the European 
Association for Heritage Interpretation (Inter-
pret Europe).2
The modern heritage interpretation encou-
rages an approach to the non-formal education 
that passes the ideas, knowledge and stories abo-
ut the historic site, buildings, museum exponats 
or other cultural heritage monument (of tangi-
ble and intangible heritage) to the general public 
and random visitors. The basic idea is that sight-
seers should perceive interpretation that wou-
ld enhance their own interpretations of herita-
ge, but they should not feel like being instructed 
like „in school“. The deeper meanings and in-
1 Official Journal of the European Union, 29. 11. 2007.
2 http://www.interpret-europe.net/.
st
ud
ia universitatis
he
re
d
it
at
i
st
u
d
ia
 u
n
iv
er
si
ta
t
is
 h
er
ed
it
a
t
i, 
le
t
n
ik
 3
 (2
01
5)
, š
t
ev
il
k
a
 2
28
sights should be revealed by first-hand, hands-
-on experience and by illustrative media rather 
than by old-fashioned factual information that 
will soon be forgotten. On the one hand, one of 
the main objectives of heritage interpretation is 
to motivate the audience, to raise and fulfil its 
expectations, on the other hand, in a long-term 
setting, contemporary trends in interpretation 
seek to promote awareness raising through a di-
versified and plural understanding of heritage 
and the continual evolution of its significances 
and values.
The need for new educational trends and 
modern approaches to heritage interpretation 
has developed hand in hand with new techno-
logy and reasonably priced travelling. Wit hout 
the sufficient heritage presentation too many 
trippers just leave the site without a deeper expe-
rience. In this sense, heritage interpretation can 
have a major impact in contributing to the pro-
motion of alternative tourist itineraries, offering 
at the same time a rich variety of hands-on acti-
vities as promoted by „creative tourism“.
To fulfil the gap in the professional training 
courses of the staff - managers and educators - 
in the cultural heritage, the project InHerit was 
started. Its fundamental goal is to educate the 
employees or volunteers to develop the good 
prac tices and full potentials in heritage interpre-
tation that would result in enhanced learning 
through Europe‘s rich and diverse heritage and 
would make the heritage more accessible to to-
urists.3
To sum up, in the last decades has became 
clear that only with the proper presentation of 
the heritage the visitors would broaden their ho-
rizons and promote the tangible and intangible 
heritage through first-hand experience among 
their relatives, friends or acquaintances. 
European Cultural routes 
Following the “European cultural convention” 
(1954), in 1987 the Council of Europe laun ched 
the “Cultural Routes programme”4 with the 
3 http://www.interpretingheritage.eu/en.
4  http://www.culture-routes.net
objective “to demonstrate, by means of a jour ney 
through space and time, how the heritage of the 
different countries and cultures of Europe con-
tributes to a shared cultural heritage” (COE). 
The programme pursues, through an integrated 
common methodology, the putting into practi-
ce the fundamental principles of the Council of 
Europe, namely human rights, cultural democra-
cy, cultural diversity and identity, dialogue, mu-
tual exchange and enrichment across boundari-
es and centuries. Since 1988 the programme has 
been managed by an executive agency of the Co-
uncil of Europe, assisted by the European Insti-
tute for Cultural Routes.
In order to acquire the certification of a 
Cultural Route, the submitted proposals for ro-
utes should meet a set of requirements, among 
which salient are:
1) The theme should be representative of Eu-
ropean values and common to different Eu-
ropean countries;
2) It should follow a historical route or a newly 
created route (in case of cultural tourism);
3) It should be the starting point of several fu-
ture long-term and multilateral cooperation 
projects on different priority axes (scientific 
research; heritage conservation and enhan-
cement; cultural and educational exchan-
ges among young Europeans; contemporary 
cultural and artistic practices; cultural tou-
rism and sustainable development);
4) It should be managed by an association or 
federation of associations, thus a network of 
independent organisations.
The first route to be awarded the title was 
the French pilgrimage road to Santiago de Com-
postela in Spain, or Way of St. James. The fol-
lowing other major routes also referred to the 
Medieval history of Europe: the French way be-
tween Rome and Canterbury, the routes of sites 
related to the Benedictine monastery of Cluny, 
the routes of St. Martin of Tours, the network 
between the Hanseatic cities on the Baltic sea, 
Transromanica – the Romanesque Routes of 
European Heritage, the Viking route. Progres-
st
ud
ia universitatis
he
re
d
it
at
i
c
u
lt
u
r
a
l 
ro
u
t
e 
o
f 
st
o
n
em
a
so
n
s 
a
n
d
 s
to
n
es
 in
 t
h
e 
a
d
r
ia
t
ic
 ..
.
29
sively, routes from other chronological contexts 
were proposed too (ie. Mozart route), finally also 
routes, not-limited to a specific timeframe, were 
submitted, such as Routes of the Olive tree, Pot-
tery routes ... It is in this later context that the 
idea of a “Cultural route of stonemasons and 
stone” found its background and support.
In December 2010, the Committee of Mi-
nisters of the Council of Europe adopted the Re-
solution CM/Res(2010)53 that established an 
Enlarged Partial Agreement (EPA) which aimed 
at facilitating a tighter co-operation between sta-
tes that could develop jointly the Cultural Rou-
tes. This agreement pursues similar objectives as 
the several European international calls for pro-
jects that address cultural heritage (various In-
terreg programmes, IPA Adriatic, Adrion, MED 
etc.), such as strengthening the potential of cul-
tural heritage of the Cultural Routes for sus-
tainable development, transnational co-operati-
on and social cohesion. On a general level, the 
Cultural Routes programme places particular 
attention to topics concerning the symbolic me-
aning of European identity, unity, history, cul-
ture and shared values. On economic level, the 
programme has a major impact, or at least a po-
tential for impact, on tourism. In this regard, it 
is foremost intended to develop lesser known de-
stinations, also by pursuing the concept of al-
ternative tourism and diversified and innovati-
ve tourist itineraries. Furthermore, the Cultural 
Routes can contribute to enhancement of “the 
democratic dimension of cultural exchange and 
tourism” by involving not only the local commu-
nities, grassroots networks and associations, but 
also the authorities on different levels (from lo-
cal, regional to national). Finally, with its pri-
mary objective to contribute to the safeguarding 
and preservation of diverse heritage, it promotes 
the collaboration of academia and research insti-
tutions as well as heritage authorities with local 
authorities and communities in an interdiscipli-
nary set-up.
Moreover, in 2010, the European Com-
mission (EC) and the Council of Europe (CoE) 
jointly launched a study on European Cultur-
al Routes and their impact on SMEs, in terms 
of innovation, competitiveness and clustering, 
especially their potential for a more sustain-
able tourism that promotes alternative and di-
versified tourist products, especially by promot-
ing less known destinations. At the same time, 
the study sought to identify the potential that 
SMEs, involved in ECR, can have in fostering 
intercultural dialogue as well as the richness of 
European values and identity. 
In order to be granted the status of a Euro-
pean Cultural Routes a phased procedure (Capp 
needs to be followed, fulfilling a set of crite-
ria and requirements. Here we only list them, 
while the analysis for the specific case follows 
in the next chapter. In first place, eligibility cri-
teria need to be met for the theme of the route 
itself. Secondly, the CoE stressed the priority 
fields of actions to be planned within the route’s 
programme, namely : a) co-operation in research 
and development; b) enhancement of memory, 
history and European heritage; c) Cultural and 
educational exchanges of young Europeans; d) 
Contemporary cultural and artistic practice; e) 
Cultural tourism and sustainable cultural devel-
opment. Finally, the networks that propose and 
take over the charge for the management of the 
Cultural Route’s activities need to meet a set of 
criteria, among which they must involve sever-
al member countries and the conceptual frame-
work needs to be based on prior research and 
supported by the different network partners.
European Cultural Route 
of stonemasons and stones 
in the Adriatic 
Considering the above framework, a “Eu-
ropean Cultural Route of stonemasons and 
stones”, starting in the eastern Adriatic – but 
not  necessarily limited to it – becomes a realis-
tic challenge. Taking into account the already 
existing comprehensive databases from former 
projects (ie. RoofOfRock, Revitas, Living land-
scape , AS - Archaeology for all, MACC, Drago-
did...) , the key research material is already gath-
ered and only needs to be eventually deepened 
st
ud
ia universitatis
he
re
d
it
at
i
st
u
d
ia
 u
n
iv
er
si
ta
t
is
 h
er
ed
it
a
t
i, 
le
t
n
ik
 3
 (2
01
5)
, š
t
ev
il
k
a
 2
30
so to provide a thorough mapping of historical 
stone trading paths and masons . It would be a 
recognizable route that links geology and cul-
tural heritage in its concrete historic links (his-
toric paths and routes of stonemasons, trade, ...) 
as well as through contextual links (architectur-
al influences etc.). In the first phase, it would in-
volve countries and partner institutions that par-
ticipated in the above-mentioned projects, these 
are: Slovenia, Croatia, Bosnia and Herzegovina, 
Montenegro, Italy, and potentially also Albania 
and Greece. In a second phase, other countries 
where the stone (primarily limestone) from the 
Adriatic basin was exported, would join. 
Fig.1: Former Roman quarry on the Dalmatian island of 
Brač. Photo: Andrej Preložnik 2015.
The theme of the route relates to the his-
toric exploitation and use of limestone which 
triggered a centuries-old craftsmanship that de-
veloped also through the exchange along the 
Eastern Adriatic coast as well as across the Adri-
atic sea to the Apennine Peninsula. Exploita-
tion of local stone leads back to prehistory and 
the similarities of its first built structures that 
form the basis of the subsequent development. A 
strong network of the stonemasons’ craft in the 
Adriatic is known ever since the Roman times 
(from Istria down to Dalmatia) (FIGURE 1), in 
the Early Medieval period (with Istrian stone be-
ing used in Ravenna), but especially with the ex-
pansion of the Venetian Republic of Serenissima. 
It was since the early 14th century that the Seren-
sissima sent its stonemasons in Istria and Dal-
matia to exploit its natural stone resources, so 
the stonemasons’ production developed strong-
ly in the 15th century. To give a prominent exam-
ple, we may look at the oeuvre of the renaissance 
stonemason capomastro Juraj Dalmatinac (or Gi-
orgio Dalmata, Giorgio da Sebenico), one of the 
most prominent artists of the 15th century Vene-
tian Republic, famous as the author of the mar-
vellous cathedral of St. James in Šibenik (in cen-
tral Dalmatia, Croatia), but also for a number of 
works in Venice itself. Juraj Dalmatinac was also 
in charge for the exploitation in the quarry on 
the island of St. Hieronymus (part of archipela-
go of Brijuni) and its transport to Ancona. Sim-
ilarly, the 16th century master Jacopo Sansovino, 
among other author of the magnificent Libre-
ria Marciana (in front of St. Mark’s cathedral) 
in Venice also used the stone from Brijuni (FIG-
URE 2) and sites around Rovinj in Istria. 
The outstanding transregional meaning of 
the stonemasons‘ productions on smaller scale 
of Slovenian and Italian Kras/Carso was well-
Fig.2: Former quarry at Brijuni, transformed into a park. 
Photo: Neža Čebron Lipovec 2016
st
ud
ia universitatis
he
re
d
it
at
i
c
u
lt
u
r
a
l 
ro
u
t
e 
o
f 
st
o
n
em
a
so
n
s 
a
n
d
 s
to
n
es
 in
 t
h
e 
a
d
r
ia
t
ic
 ..
.
31
-appointed through the lifelong extensive work 
of Božidar Premrl, who published several pro-
fessional books and booklets, articles and pro-
fessionally made elaborates. Premrl has fol-
lowed the tracks of the stonemasons‘ families 
and their workshops in Kras/Carso and has the-
refore clearly shown that the paths have develo-
ped disregarding the then territorial borders, but 
according to the natural assets and the well-off 
commissioners.
The route is thus constituted of show-case 
buildings, representing the architectural rich-
ness as well as the geological diversity along the 
Adriatic coast, but also of the links among the 
different sites. These can be related by their ar-
tistic and architectural heritage values, the prac-
tical use of stone, as well as geological specific-
ities pointed out on selected show-case objects. 
Existing project’s research results clearly high-
light he common points (geological as well as 
architectonic stone elements) throughout the re-
gion and thus evidence its border-crossing role – 
so to rgument why can we call it cultural route. 
The route has a comprehensive interdisciplinary 
character as it equally considers the cultural her-
itage in its tangible (buildings) and intangible 
(stone crafts) manifestations as well as the con-
nected natural settings (all natural landscape, 
but especially quarries). The activity is distin-
ctively of transregional and transnational cha-
racteristics, as the stone, of which were built se-
veral monuments of architectural, artistic and 
cultural values, is a common material that di-
sregards the borders and could be exported fol-
lowing the commissions.
As the path would follow trading paths, 
paths of masons etc., it presents a ramified set-
up or hierarchy of connections (local, regional, 
trans-regional). A back-bone route leads in the 
direction north-south from the Alps towards 
the Ionian sea, along the Eastern Adriatic coast, 
while transversal “vertebra” is attached to it. This 
is the trans-regional level. On regional and lo-
cal level, the route is structured around key-cen-
tres, or “knots”, of application of stone crafts: 
the centres are in fact urban centres (major cities 
or smaller-scale towns) with intense presence of 
representative show-case buildings, rich and di-
versified in the use of stone (building stone, clad-
ding, ornaments). From here, visitors are direct-
ed in different directions: one continuation leads 
to nearby quarries or points of extraction, anoth-
er continuation orients visitors towards other 
show-case sites or other local sites, meaningfully 
related to the quarry or its stonemasons. Among 
them, the “knots” are connected based on his-
toric connections: following the routes that itin-
erant stonemasons and craftsmen took or the 
routes along which the stones were transported, 
also further away. 
While the back-bone route can be the 
thread-line for a tourist package, the “secondary 
routes” represent a varied offer of daily itinerar-
ies. This way it meets the pursued and request-
ed concept of alternative and diversified tourism. 
The main road and its ramification, as well as the 
show cases that lie by the road or other high-
lights of the architectural heritage, will be pre-
sented in the map that will be distributed to the 
tourist offices in the regions. (see Interpretation 
and presentation)
The definition of the main route in the 
Adriatic area and especially its broad ramifica-
tion will highlight the common, well-beaten 
paths that were in the past chosen by the skil-
led stonemasons in order to commit the valua-
ble commissions in the rich city centres or just 
to follow the stone trade in order to find some 
work.
To sum up, we may here just point out the 
key points where our conceptual proposal  meets 
the official CoE‘s eligibility criteria for themes 
(Capp, 2006):
– The „Stonemasons‘ and stones‘ Cultural 
Route“ is representative of European va-
lues, primarily of peaceful cultural exchan-
ge, coexistance and respect of diversity, and 
is thus common to several countries in Eu-
rope, namely Southern and SE Europe.
– The theme has already been researched and 
developed by groups of multidisciplinary 
experts from different regions of Europe 
st
ud
ia universitatis
he
re
d
it
at
i
st
u
d
ia
 u
n
iv
er
si
ta
t
is
 h
er
ed
it
a
t
i, 
le
t
n
ik
 3
 (2
01
5)
, š
t
ev
il
k
a
 2
32
as show the different European project of 
which it was the topic.
– „Stonemasons and Stones“ do represent an 
illustrative case of European memory, his-
tory and heritage since the memory of the 
pathways of itinerant craftsmans as well as 
the several surviving architectural show-ca-
ses are the result of historical micro-sca-
le migrations, but due to the tight links 
between craftsmen and rich commissioners 
are also evidence of broad currents of civili-
sation and cultural development.
– The proposed programme along the route 
does lend itself to cultural and educational 
exchanges of young people, namely throu-
gh the several possibilities offered by the 
hands-on workshops.
– The proposal in itself already represents an 
initiative for an innovative project in the 
field of cultural tourism and sustainable 
cultural development.
– The route‘s programme is concieved as a 
lon-term multilateral co-operation project, 
involved in different field of action (equally 
in the co-operation in research and develop-
ment as well as promoting cultural and cre-
ative tourism). Finally, it is to be set up by a 
multidisciplinary netowork located in diffe-
rent CoE states.
Management of the route 
In first place, an adequate form for the mana-
gement and cross-border collaboration should 
be defined. The best way for calibrated and fi-
ne-tuned activities, a network of delegated orga-
nisations should be set-up. In this concrete case, 
the already set-up network of the RoofOfRock 
show-case towns could be a starting structu-
re, to which other organisations would join. In 
each region involved, one responsible organisa-
tion should be chosen, either from public orga-
nisations (universities, museums, heritage insti-
tutes etc.), associations or NGOs. The network 
organisations would then define its advisory bo-
ard, the decision-making procedure, fields of 
action, responsibilities, funding resources and fi-
nally a 5 or 10 year management plan, including 
a jointly defined agenda of actions and activities, 
funding, PR and graphic design, strategic links 
with related stakeholders (tourist operators, to-
urism offices, public and private transport pro-
viders, ...). 
In order to achieve its key objective – con-
tribution to the conservation and dissemination 
of heritage values, the major common task of the 
network, however, resides in the interpretation 
of the ECR topic – this is the historical use of 
stone and its related routes.
Interpretation and presentation 
In order to efficiently achieve a long-term im-
plementation of the route and as well as to ad-
here to the official requests for ECR methodo-
logy, a well-considered interpretation should be 
devised, along with its infrastructure. For these 
purposes, we follow the international standards, 
pre-set by the “Ename Charter” on Interpreta-
tion and presentation of cultural heritage sites, 
promoted by ICOMOS in 2008. 
Being every act of heritage conservation, 
also a communicative act, an Interpretation plan 
for the whole Route should be prepared. The task 
of interpretation is to “enhance personal experi-
ence, increase public respect and understanding, 
and communicate the importance of the cultu-
ral heritage sites” (Ename charter 2008, Princi-
ple 1.1 in Grobovšek 2014, 48), in our case the hi-
storic stonemasonry of the Adriatic is a physical 
proof for the transnational values of respect of 
multi-culturality as well as intercultural exchan-
ge and learning.
Visual identity
In order to communicate the connecting valu-
es of the route – the presence and historic use 
of stone – an easily identifiable logo and a visu-
al identity, which would greet the traveller all 
throughout the route, should be designed. Cle-
arly, it will have to be a concise and modern, 
highly recognizable image – to be used in all re-
lated promotional material. Most likely the ima-
st
ud
ia universitatis
he
re
d
it
at
i
c
u
lt
u
r
a
l 
ro
u
t
e 
o
f 
st
o
n
em
a
so
n
s 
a
n
d
 s
to
n
es
 in
 t
h
e 
a
d
r
ia
t
ic
 ..
.
33
ge would refer to either stone as such, the stone-
-masons tools or built heritage in stone.
Interpretive programme
The interpretation programme is the top priority 
of the route thus it should be very carefully pre-
pared with the participation of all the organisa-
tions involved, who, in turn, are responsible to 
collect updated data and material, based both on 
local and international scholarly research as well 
as through oral sources. The information provi-
ded in each marked point of the route should be 
clearly linked to those of other routes. The inter-
pretive techniques would include both, traditio-
nal material technique – possibly used with the 
presence and use of stone – and advanced ICT 
technologies, the latter especially in places whe-
re interpretive infrastructure could obstruct the 
significance of the place.
In each selected location of the route, a key 
local itinerary, as a “branch” of the major route 
would be described, including the presentation 
of all related points of interest, buildings, open 
spaces, natural sites and quarries. All of them 
would be gathered in a map, which in turn again 
would be a part of the wholesome map of the 
route. 
Interpretive and didactic tools 
A map will help to tour operators to draw atten-
tion to the interesting objects in the vicinity, as 
well as to encourage the tourists (groups, indi-
vidual visitors and hikers) to prolong their jour-
ney or to return to visit the more distant, but in 
some way related, heritage monuments, listed on 
the map. 
As a complement to the map a booklet that 
will provide the short description of the objects 
and the links to the other stone products, made 
by the same stonemason or stonemasons‘ work-
shop, will be produced. The booklet is conceived 
as one of the main interpretive toolsand it works 
as a combination of a tourist guide of the whole 
route and of a diary. It would be composed also 
of a set of pre-defined empty pages where visitors 
would stick stickers or stamps from the different 
sites of the route. The idea of collecting stamps 
or stickers derives from the traditional Slovenian 
mountain diary or »transverzala« (FIGURE 
3) where hikers collect the stamps at the peaks 
achieved, adding by hand the date. The book-
let could be further elaborated also as a discount 
Fig. 3: Stamp-diary and kit of the Slovenian mountain-ro-
ute “Slovenska planinska pot - transverzala”. Photo: Neža 
Čebron Lipovec 2016.
st
ud
ia universitatis
he
re
d
it
at
i
st
u
d
ia
 u
n
iv
er
si
ta
t
is
 h
er
ed
it
a
t
i, 
le
t
n
ik
 3
 (2
01
5)
, š
t
ev
il
k
a
 2
34
card where visitors showing this “ID” would get 
discounts either on merchandise or in cafes and 
restaurants. By having all the sites joint in one 
booklet, the transition among them would be 
enhanced, the visits increased and the connec-
tion between the heritage sites and their values 
highlighted. 
Additionally, a specific cartoon-like book in 
national languages for kids (with drawings to be 
added etc.) would be designed as awareness-rais-
ing and educational material, again similar to 
the Slovenian mountain route, »transverzala« 
for kids. 
To stimulate the participation of the lo-
cal communities and storytelling, some points 
in the booklets could be formed as questions or 
enquiries for information that local inhabitants 
would provide. This way, different sources on 
heritage would be used, triggering “reflections 
on alternative historical hypothesis, local tradi-
tions and stories” (Ename Charter 2008, princi-
ple 2.2 in Grobovšek 2014, 49).
Promotional material 
Linked to the cultural route, a whole set of pro-
motional material or gadgets could be designed, 
reflecting the usual travelling aid (e. g. necker-
chiefs, pins, bags, sleeping bags, ...) as well as the 
typical stonemasons’ equipment (boots, gloves, 
hats, bottle,...). All promotional gadgets should 
follow the principle of sustainability, meaning 
that they should be made locally with as much as 
possible ecological material yet following the ge-
neral visual identity of the route. Recycled stone 
could be used for the production of promotional 
material of useful small-size (not too heavy) sou-
venirs (necklaces, etc...).
Interpretive infrastructure
Should also follow the jointly predefined visu-
al identity of the route but also respect the lo-
cal specificities. The bottom-line idea of inter-
pretive infrastructure should follow the general 
aims: a) respect multi-faceted significance of the 
sites, b) respect for the natural environment and 
geographical setting, c) sustainability and zero-
-waste economy. 
The (im-)movable objects for the interpre-
tation infrastructure of the cultural routes and 
selected show-case sites and quarries will be 
based on the “zero waste” concept.5 It aims at us-
ing those parts of stone as the building material 
that usually go wasted in the production process. 
Such material would be reused through innova-
tive design solutions for new design products – 
in this case interpretation infrastructure, name-
ly interpretive panel-like or similar supports. 
With the help of creative industries, a new, use-
ful dimension would be given to the waste stone, 
moreover, this principle will also call the atten-
tion to the issues of stone extraction and design. 
Likewise, recycled stone could be used for the 
production of promotional material or for use-
ful souvenirs (see above).
Workshops on sustainable use of natural stone 
As a part of educational and awareness raising 
activities, a set of workshops could be organi-
sed in the different sites of project area with local 
partners and local craftsmen, so to produce the 
interpretation infrastructure. At these events 
professionals, namely craftsmen from other re-
lated sites of the route would be invited. Work-
shops would address both professional skilled-
-staff but also the general public and thus be a 
part of the wider tourist-offer of the along the 
route. As a hands-on experience for visitors and 
tourists, the proposal complies with the topical 
trends of developing “creative tourism”6.
Re-use of sites 
A particular activity in this ECR proposal en-
compasses the promotion of abandoned quar-
ry sites. Selected active quarries would be an in-
tegral part of the local itineraries, show-casing 
the contemporary stone extraction in quarries. 
Some of them have already included a presen-
5 This section of the pre-study was prepared on the idea of Tjaša Kra-
njec from the vocational school center of Sežana (Visokošolsko sre-
dišče Sežana) who was supposed to be also a partner in the Roo-
fOf Rock follow-up project »House of Rock«.
6 See www.creativetourismnetwork.org
st
ud
ia universitatis
he
re
d
it
at
i
c
u
lt
u
r
a
l 
ro
u
t
e 
o
f 
st
o
n
em
a
so
n
s 
a
n
d
 s
to
n
es
 in
 t
h
e 
a
d
r
ia
t
ic
 ..
.
35
tation structure, showing quarrying and rela-
ted techniques as technical heritage. There are, 
however, several closed and abandoned quarries 
which are still clearly visible in the landscape and 
have a great potential for re-use. Their potential 
consists of their natural setting, the good road-
-connection and the (most probable) existence of 
basic infrastructure (electricity & water-supply, 
minor built structure). Considering these chara-
cteristics, some could be occasionally re-used as 
performance areas for concerts, theatre perfor-
mance, festivals etc. A good example is the site 
of the former Repnič-Rupinpiccolo quarry, in 
the area of the village Briščiki (Borgo Grotta), 
in the area of Trieste, where the quarry effects as 
an amazing natural amphitheatre (FIGURE 4). 
Activities in these re-used sites would be a part of 
the Interpretation plan and Management plan 
of the route. Here as well, each re-used site wou-
ld promote the other similar sites on the route.
Fig.4: Quarry of Repnič-Rupinpiccolo (Briščiki/Borgo 
Grotta near Trieste), before a performance. 
Photo: Neža Čebron Lipovec, 2013
Reference best practices
In any case, this pre-study could only hardly 
be outlined without the experiences, gained 
 through previously well-accomplished projects 
on the interdisciplinary field of cultural heritage, 
implemented by University of Primorska. Seve-
ral (national, bilateral, but mainly international) 
projects have set as one of the objectives the im-
proved heritage interpretation, revitalisation of 
cultural heritage, promotion of heritage, ... etc. 
in order to increase the access to the heritage, to 
raise the awareness of the meaning of the cultu-
ral heritage as our common wealth, as our inhe-
ritance from previous generations and our lega-
cy for those to come. Therefore the enrichment 
of tourism offer and consequently the increased 
number of visitors has been one of the regular in-
dicators. 
In this chapter we will point out two pro-
jects led by University of Primorska that have 
had as one of the results the setting up of the cul-
tural heritage-oriented itineraries, which have 
been adjusted to various groups of visitors and 
are therefore understood as the examples of the 
good practice in the field. The long-term plan is 
(in accordance with priority areas of EU - pro-
motion of culture as a vital element of the Uni-
on‘s international dimension) to maximise the 
potential of cultural heritage and to highlight its 
international and timeless meaning as the com-
mon wealth.
AS - Archaeology for all. Revival of the 
Archaeological park Simonov zaliv
During the project AS - Archaeology for all. Re-
vival of the Archaeological park Simonov zaliv 
(EEA Grants, EGP Grants 2009-2014) three di-
fferent archeo tours, meant for solo visitors, as 
well as for guided groups, were developed - two 
land routes (for hikers and cyclists) and one ma-
ritime. The land routes are based on the already 
developed tourist hiking and cycling maps of the 
surroundings of Izola, issued by Touristic Infor-
mative Centre of Izola that were modified and 
adjusted to the needs of the archeo tour. Both to-
urs are available in long and short versions with 
the possible shortcuts. 
Each monument, site or highlighted points 
of interest (esp. on maritime route) on the route 
has its own unit in the free version of the mobi-
le application for the smart phones. The mobile 
application raises awareness when the sightseer 
is in the direct vicinity of the attraction and one 
st
ud
ia universitatis
he
re
d
it
at
i
st
u
d
ia
 u
n
iv
er
si
ta
t
is
 h
er
ed
it
a
t
i, 
le
t
n
ik
 3
 (2
01
5)
, š
t
ev
il
k
a
 2
36
can peruse a general overview on the screen or 
can, if it has raised an interest, make profit of the 
more detailed description and more information 
with only one click. Some objects are also linked 
with other tourism offers nearby – like village’s 
inns with traditional cuisine or breathtaking vi-
ewpoints.
Despite the title none of the routes is stri-
ctly only archaeological, as there is also some 
stress on the cultural, as well as natural herita-
ge sights (like the pilgrimage church of St. Mary 
in Strunjan, traditional village Cetore or Natu-
ral Park Strunjan with the adjoining salt pans). 
Living Landscape
The extremely rich intangible heritage of kar-
stic area in Slovenia and Italy was (as in general 
overview counts for the intangible heritage as a 
whole) neglected until the last decades, as even 
UNESCO only in 2003 passed the Convention 
for the Safeguarding of the Intangible Cultural 
Heritage.7 
Within the bilateral, Italian-Slovenian, pro-
ject Living Landscape (SLO IT PP3 2013–2015) 
under the leadership of University of Primorska 
and in collaboration not only with the project 
partners and experts on the field, but what is of 
the special importance for the integration in the 
local environment, also with the students and lo-
cal community, the mythological-folklore park 
Rodik has been designed. Although the park 
has (due to the lack of money) not been set yet, 
all the necessary steps towards the final imple-
mentation have already been made. The compre-
hensive elaborate includes the locations and the 
interpretation of the single sites with the short 
description. Additionally, the official permission 
for the creation of the park (taking into account 
the guidelines set in the elaborate) from the In-
stitute for the Protection of Cultural Heritage of 
Slovenia has been already gained. Each mapped 
location would be equipped with the explana-
tion that would be (under the consideration of 
the natural heritage sites protection) ecological-
7 Convention for the Safeguarding of the Intangible Cultural Heri-
tage, UNESCO 2003, www.unesco.org/culture/ich/en/conventi-
on. 
ly and non-invasively put into the marking posts 
made of stone. The design for the posts was cre-
ated in collaboration with the vocational school 
in Sežana, the only educational entity with the 
course of the stone processing in Slovenia.
Camino de Santiago or The Way of St. James
Needless to say, the most highly developed and 
numerously visited European routes ever sin-
ce the Early Medieval Ages have been without 
a single doubt pilgrimage routes. The most fa-
mous route, Camino de Santiago or The Way of 
St. James, is each year undertaken by more than 
100.000 people from the whole Europe, who 
have taken it not only to see in vivo the shrine of 
apostle St. James the Great in the Cathedral of 
Santiago de Compostela in Galicia in Spain, but 
also to spiritually clean theirselves or to visit and 
stop by numerous churches and other sacral buil-
dings built through centuries on the road. 
Fig.5: A typical signpost, with Jacobs‘ scalop as symbol, 
along the pilgrims way. Photo: Janja Rižnar 2015.
Through constant and ceaseless pilgrima-
ge from all over Europe a very ramified system 
of the paths that lead to the same target has 
st
ud
ia universitatis
he
re
d
it
at
i
c
u
lt
u
r
a
l 
ro
u
t
e 
o
f 
st
o
n
em
a
so
n
s 
a
n
d
 s
to
n
es
 in
 t
h
e 
a
d
r
ia
t
ic
 ..
.
37
been established - the most besieged has been 
The French Way with many medieval churches, 
cathedrals and abbeys that have served also as 
the rallying points for the pilgrims. The paths 
are marked by St. James‘ symbol, the scallop 
shell, that at every step welcomes visitors, and by 
several marking posts. As a tourist offer also „pil-
grim‘s passports“ are provided, in which the mo-
dern pilgrim can collect the stamps, obtained in 
refugio (dormitories) or churches in the towns 
on the road. The owner of the passport can also 
profit from inexpensive – or even free – accom-
modation, provided only for the pilgrims. (FI-
GURE 5)
In any case, the well-visited pilgrimage ro-
utes are a the best and the most famous show 
case that clearly demonstrates not only the tran-
sregional, but also the underlined transnatio-
nal characteristics of the beaten ramified paths 
that have been in use for more than millennium 
without a major caesura.
Conclusion
The proposed cultural route of stonemasons and 
stones in the Adriatic is set as a desirable com-
plement to the already existing cultural routes 
recognized by the Council of Europe, as it fulfils 
all the major requirements for the cultural rou-
te (as proposed by the Council of Europe) – it 
is multidisciplinary based, contributes to the in-
terpretation and promotion of the common Eu-
ropean heritage, one of its objective is to educa-
te the younger generation to respect the values of 
our common heritage, its functioning and main-
tenance are linked to the tourism and to the en-
hancement of the tourism offer.
Moreover, through previously completed 
projects on the field of cultural heritage and 
especially through already established system of 
the European cultural routes has to a great de-
gree stood out not only the transregional, but 
also the transnational character of the cultural 
heritage, as the comparable heritage monuments 
are dispersed disregarding the borders, but with 
the look on the natural assets, commissions, his-
torical background, etc.
The proposed Stonemasons‘ route will set 
out whether the stonemasons‘ paths strictly fol-
low the stone trade path or whether there are 
some - smaller or larger - deviations, which have 
in all probability occurred because of the no-
ble and well-off commissioners – not only the 
clergy but also the wealthy trading cities or nobi-
lity. Together with all the accompanying activi-
ties as well as the promotional material, gadgets 
and professional booklets, as also with the edu-
cational material for children and the recogni-
sable logo, the route will encourage the random 
sightseers as well as the organised groups to dee-
pen their knowledge on something as usual and 
as taken for granted as is stone as the building 
material. They will be encouraged to dig deeper 
and to follow the ramified curved paths of the 
stonemasons, as well as to the common types of 
the architectural heritage or the architectural 
decoration.
Summary 
A pre-study that is generally based on the results of the 
well-accomplished international multidisciplinary pro-
ject RoofOfRock, proposes a follow up of the project 
activities the concept of the cultural route that would 
draw attention to the ramified paths of the itinerant 
stonemasons and their workshops in the Adriatic. The 
elaborate is made in line with the concept of the already 
existing cultural routes, as was established by the Coun-
cil of Europe.
The proposed cultural route would highlight the rami-
fied system not only of the paths that were taken by the 
stonemasons in order to get the commission, as well as 
the stone trade. Along the route show-cases, buildings 
made of stone that stand out due to their artistic, archi-
tectural and cultural value are chosen and put on the 
map that is complemented by the booklet. However, 
the elaborate considers also intangible heritage (stone 
crafts) and also the natural assets that enabled the stone 
extraction and the stone trade. The concept proposes 
some ideas for the revitalisation - re-use of the sites like 
abandoned quarries.
The route and its branches would be accompanied by 
the recognisable logo, map, booklet, interpretive pro-
gramme, didactic tools and by other promotional mate-
st
ud
ia universitatis
he
re
d
it
at
i
st
u
d
ia
 u
n
iv
er
si
ta
t
is
 h
er
ed
it
a
t
i, 
le
t
n
ik
 3
 (2
01
5)
, š
t
ev
il
k
a
 2
38
rial for different age groups (adults, children) in order to 
encourage the visitors to broaden their horizons about 
the stone, stone trade, stonemasons, etc. Its final objec-
tive is to promote the cultural, as well as natural heritage 
as our common European wealth that has to be main-
tained and respected as the route strictly points out the 
transnational and transregional character. 
Povzetek
Študija v osnovi temelji na rezultatih zaključenega med-
narodnega interdisciplinarnega projekta RoofOfRock 
in kot nadaljevanje projektnih aktivnosti predlaga za-
snovo kulturne poti, ki bi opozorila na razvejane poti 
potujočih kamnosekov in njihovih delavnic v jadran-
skem prostoru. Elaborat je pripravljen skladno s koncep-
tom že zasnovanih kulturnih poti, kakršne so nastale 
pod okriljem Sveta Evrope. 
Predlagana kulturna pot bo osvetlila razvejan sistem 
poti, in to ne samo tistih, ki so jih ubrali kamnoseki, da 
bi dobili naročilo, temveč tudi poti trgovine s kamnom. 
Na poti bodo predstavljeni izbrani „vzorčni primeri“ 
(show-cases), stavbe, narejene iz kamna, ki izstopajo po 
svoj umetniški, arhitekturni in kulturni vrednosti. Ti 
primeri bodo označen na zemljevidu, ki bo dopolnjen 
z brošuro. Elaborat obravnava tudi nesnovno dedišči-
no (obrti, povezane s kamnom) in naravne danosti, ki so 
omogočile izkoriščanje kamna in trgovino s kamnom. 
Koncept predlaga tudi nekaj idej za revitalizacijo - po-
novno uporabo mest, kakor so na primer zapuščeni ka-
mnolomi.
Pot in vse njene veje bodo opremljene s prepoznavnim 
logotipom, zemljevidom, brošuro, interpretativnim 
programom, didaktičnimi orodji in ostalim promocij-
skim materialom, namenjenih za različne starostne sku-
pine (odrasli, otroci), vzpostavljenimi z namenom, da 
bi si obiskovalci razširili svoja obzorja o kamnu, trgovi-
ni s kamnom, kamnosekih, etc. Končni cilj je promoci-
ja tako kulturne kot tudi naravne dediščine kot našega 
skupnega evropskega bogastva, ki ga je potrebno vzdr-
ževati in spoštovati, saj pot izrazito poudari mednacio-
nalni in medregionalni značaj.
Bibliography and Sources
Capp, Sorina. The European Institute for Cul-
tural Routes. www.arcchip.cu/w02/w02_
capp.pdf 2006.
Grobovšek, Jovo, ed. Doktrina 2, Mednarodne 
listine in dokumenti ICOMOS. Ljubljana: 
ICOMOS Slovenija, 2014.
Lopez, Lucrezia, and Rubén Camilo Lois Xosé 
Santos Solla. „Promoting or being Promo-
ted? The Case of the Way of St. James.“ In 
The European pilgrimage routes for promo-
ting sustainable and quality tourism in rural 
areas, ed. Gianluca Bambi, Matteo Barbari, 
817–833. Firenze: Firenze University Press, 
2015.
Official Journal of the European Union, 29. 11. 
2007.
Pirkovič, Jelka. Arheološko konservatorstvo in 
varstvo nepremične kulturne dediščine. Lju-
bljana: Filozofska fakulteta, 2012.
Premrl, Božidar. Podpisano s srcem: kraška kam-
noseška rodovina Guštinov skozi stoletja: Re-
pentabor - Sežana - Opčine - Griže na Vrheh. 
Trst: Založništvo tržaškega tiska, 2014.
Premrl, Božidar. „Stavbarska delavnica družine 
Rojina v Brezovici v Brkinih v 17. stoletju 
in na začetku 18. stoletja.“ In Barok na Go-
riškem – Il barocco nel Goriziano, ed. Fer-
dinand Šerbelj, 251–270. Nova Gorica: Go-
riški muzej, 2006
Van Mesch, Peter, Mejier – van Mensch, Leon-
tine, Rihter, Andreja. New Trends in Mu-
seology. Celje: Museum of Recent history, 
2011.
www.creativetourismnetwork.org
www.culture-routes.net
www.interpret-europe.net 
www.interpretingheritage.eu/en.
www.primorski.it 
www.roofofrock.eu
www.unesco.org/culture/ich/en/convention