Systematic analysis and elaboration of painting heritage in 16th and 17th century in dioceses of Šibenik encompasses a detailed analysis of material and their comparison with Venetian painting, and painting with other Dalmatian cities. Viewed through the prism of the complex historical, social and economic situation, as well as church reforms, which deeply marked the period. Furthermore, local commissioners with specific preferences and the need for self-promotion, and their own art tastes, explain discussed processes. Processed works originate in the period from the beginning of 16th all the way to the end of 17th century. Furthermore, the process which was pivotal for explaining and perceiving the intricate phenomenon’s is connected to the painting at the turn of the century. Introductory considerations focus on specific historical circumstances and the state of the Diocese of Šibenik during the time of long and exhausting Ottoman wars and the demands posed after the Council of Trent. A separate chapter deals with various groups of commissioners, their profiles, motivation, unique fashions of acquiring painting materials for outfitting the after The Council of Trent interiors in Šibenik, particular art tastes of the commissioners and their own influence on the art heritage. Moreover, the focus is on the complexity of defining certain singularity’s in order to give a clear image of the demands for paintings in the local market. The forth chapter analyses paintings in the Šibenik diocese from the 16th century taking into account local medieval traditions and the input of contemporary trends coming in from Venice as a key art centre of that area. In that context, works are analysed according to their stylistic background and the painters, separated into three categories: imported painting, works of immigrant painters, and local painters. Moreover, well known painters are given more attention and works from Šibenik are contextualised in regard to their biographical information and other known works. Based on gathered archival information works of local painters and their painting practices are more closely examined. The following chapter deals with Venetian workshops which can be dated from the end of the 16th century all the way to the beginning of the 18th century. A special focus is given to the works of late renaissance painting and keeping the tradition of the golden century of Venetian painting. As well on a group of paintings by Palma Giovane and followers of his mannerism, whose quality distinguishes its painting from the rest of the processed works. Furthermore, a group of paintings by prominent Venetian workshops and other Italian painters is also significant. We distinguish works by less established painters, who originate from outside of the cultural centres, whose work shows a certain matureness while working in Venetian painting workshops. However, they display a dominant component of adjustability to conservative taste of the Dalmatian commissioners of art, and very rarely local painters which are discussed in more detail in chapter six. After the War of Candia, a certain dying out and declining of painting quality is highly noticeable in the area of Šibenik diocese. Moreover, it is important to note the works of unknown local painters and their works from that period. A detailed analysis of materials in the 17th century and dissecting the relationship between the centre and the less established painters brought forth conclusions about a prevailing influence of Venetian models. There are three major influences: popular models from Cinquecento and the solutions provided by di sette maniere painters, but also other popular post Council of Trent schematics. Interlacing of prominent influences marked the end of the century. Not until the turn of the century displays awakening of painting production and entering of the contemporary stylistic tendencies. Those were influenced by prominent commissioners and Giovanni Domenico Callegari, Šibenik’s bishop, who had a Venetian background, and other esteemed individuals of Šibenik’s societal elite. The content of the dissertation follows a catalogue where eighty-nine paintings are processed and listed in chronological manner. Each catalogue unit contains basic information about the work, description, bibliography and an accompanying photograph. Furthermore, there are also enclosed significant, but until now never published archival information.