Liturgical objects made of precious metals, dating from 1400 to 1800 and preserved in the area of the former Diocese of Pula have not been the subject of a systematic research yet. The goal of this doctoral dissertation was, thus, their scholarly cataloguing and analysis. For each object, an attempt was made in recognizing its basic stylistic features, date of execution and connection to the workshops or masters belonging to Venetian, Veneto-Friulian, Augsburg, Viennese, Graz, Trieste or local goldsmith traditions. In addition to the valorisation of objects, the use of goldsmiths’ materials and techniques was analysed, as well as the typology and purpose of liturgical objects. Selected examples were chosen to demonstrate the practice of ordering and pricing of such precious artworks. A systematic field research was conducted in 56 religious buildings situated in 52 locations all over the territory of the former Diocese of Pula. It lasted eight years and it resulted in a catalogue containing 411 liturgical objects, some of which make part of a set of two, four or more items. The research included detailed photographing of goldsmiths’ works in order to create a catalogue of their hallmarks. It also included the gathering of an exhaustive collection of the fundamental as well as the newest literature on the subject that, more often than not, could be found only in the renowned European libraries specialized in art history. In this context, it should be noted that since the Croatian libraries do not possess this type of literature, this doctoral dissertation comprises a first attempt at reviewing the relevant sources on goldsmithing in the Republic of Venice and several art centres in the Holy Roman Empire, written in Croatian language. Once the necessary conditions for applying the current research methodology were established, a detailed analysis of the catalogued works was conducted. At the same time, the archival documents such as the manuscript of the apostolic visit conducted by Agostino Valier and the manuscripts of two pastoral visits conducted by two bishops of Pula, Giuseppe Maria Bottari and Giovanni Andrea Balbi, were consulted. The result of the research carried out within this doctoral dissertation is a contribution to the knowledge of the typology of liturgical objects, the usage of the precious metals and various goldsmiths’ techniques for decorative compositions. For almost one fourth of the works, the context of their commissioning was established. Furthermore, a brief overview and valorisation of documented but unfortunately lost goldsmiths’ works has been included. An entire chapter of the dissertation discusses the topical question of protection and preservation of cultural heritage. It also provides an overview of the best practices in restoration, storing and presentation of liturgical objects made of precious metals. By applying the modern methodology of research, it was possible to determine that more than three-quarters of the preserved liturgical objects originated from Venetian and Veneto-Friulian workshops. Almost thirty items can be associated with goldsmiths active at the time in Augsburg, Vienna, Graz and Trieste and the rest of the catalogued artworks was made in unknown workshops active during the second half of the 17th and in the 18th century in Friuli and Carniola. Furthermore, based on recurrent similarity of design among a number of objects and archival sources, the hypothesis of the existence of at least two goldsmith workshops in Baroque Rijeka was formulated. Liturgical objects originating from Venetian and Veneto-Friulian workshops are preserved in all church treasuries of the area, while the works manufactured in the goldsmith centres of the Holy Roman Empire could be found in localities situated on the north-western slope of Učka and in the centres situated along the Kvarner Bay, including Rijeka. This geographical area was under the rule of the Habsburg family, while the southern part of the Diocese of Pula made part of the Venetian Stato da Mar. The Venetian and Veneto-Friulian works manifest several stylistic transformations between 1400 and 1800. Gothic decorative elements appear up to the first quarter of the 16th century, while the Renaissance decorative vocabulary persists until the last quarter of the 17th century in such works. Baroque features on certain types of liturgical objects persist throughout almost the entire 18th century, while the rocaille motifs appear during its second quarter. At the end of the 18th century, Neo-classicist ornaments emerged on Venetian goldsmith's works. For the majority of liturgical objects it was not possible to determine the author. Nevertheless, it was possible to connect numerous works to the Venetian workshops according to the hallmarks they bear. These are: Nome di Gesù, Coraggio, Trionfo, Noviza, Albero d'Oro, Bo, Tre Chiodi, Corona, Due Corone, Tre Corone, Croze and Orso. Liturgical objects created in the goldsmiths' centres of the Holy Roman Empire could be dated mostly in the 17th and in 18th century. They exhibit Baroque and Rococo decoration and could be connected to Augsburg goldsmiths, such as Franz Thäddaus Lang, Johann David Saler, Franz Ignaz Berdolt, Jeremias Michael, Johannes Zeckel, Martin Mair and Tobias Graber. Other works could be associated with the Viennese goldsmith Johann Georg Wolffinger, as well as with Graz goldsmiths Franz Pfäffinger and Leopold Vogtner and, probably, with the Trieste goldsmith Matteo Kandler. All the analysed works differ significantly in the quality of production, in compositions of decorative motifs and in typology. Among these, about twenty items appear to be very important due to their quality of execution and, thus, they represent a valuable contribution to the Venetian, Augsburg, Vienna, Graz and Trieste goldsmithery.