| Municipality of Pinzano al Tagliamento
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Pop.: 1,607
Area: 21,76 sq. km, 201 m a.s.l.
Neighbourhoods: Costabeorchia, Manazzons,
Valeriano, Borgo Ampiano, Campeis, Colle, Mizzeri
Town Hall: Via XX Settembre, 53 - 33094 Pinzano al Tagliamento
Phone.: 0432.950005 Fax: 0432.950129
www.comune.pinzanoaltagliamento.pn.it
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From the parvis of Santo Stefano
at Valeriano the view sweeps the
horizon over the plain towards
Spilimbergo, but inside the church
the beholder's gaze reaches as far the
earliest painting by Pordenone, whose
frescoed triptych dated to the year 1506,
portraying SS. Valerian, Michael Archangel
and John the Baptist is still visible. The
graphic layout in this fresco still reveals the
influence of artists such as Gianfrancesco da
Tolmezzo, from whom, however, G.A. de'
Sacchis will detach himself relying more and
more on light and colour to render space and
volumes. To a later date (1524) is traced the
monumental decoration the
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artist realized on
the façade of the close-by oratory of Santa
Maria dei Battuti, whose frescoes (now
better preserved inside, though their sinopias
have been reinterpreted on the outside) portray
SS. Valerian, John the Baptist and Stephen
on the lower level and the Adoration of the
Magi on the upper level, the latter centred
around the Enthroned Virgin with Child and
Angels. A towering St. Christopher is on the
right, while under the eaves gutter putti, birds
and turtles are reminiscent of dynamic
grottesca decorations. To more or less the
same years date back his
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Nativity with SS. Antonio and Floriano and the Flight to
Egypt (1527) on the left wall, one of the most
lyrical examples of Pordenone's production,
apart from being the evidence of the artist's
full command of the chromatic variables
specific to such type of painting technique.
On the right wall and vault are fragments of
14th-century frescoes with Stories of the Virgin,
the Last Supper and Trinity, while a painting
by G. Narvesa (1595-1598 ca.) is on the altar,
showing the author's ability in giving
coherence to the most complex subjects. Both
mentioned churches boast Renaissance stone
portals, respectively by Carlo da Carona
(1508) and G.A. Pilacorte (1499). Following
Pordenone's traces, the next stop is necessarily
Pinzano, with the frescoes in the parish
church of San Martino, where an Enthroned
Virgin with
Child, Angels and offerers (1525) marks the
highest magnificence of volumes and a
St. Sebastian among SS. Santi Rocco, Stephen,
Nicola and Michael Archangel (1527 ca.)
exemplifies the
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artist's skill in making
variations on landscape themes, at the same
time interweaving with such variations the
figurative standards of Mannerism in Veneto
and central Italy. The latter is the case of a
few fragments showing how decoration once
extended to the adjacent south wall
(St. Martin's Alms, Confraternity Procession,
Sant'Antonio Abate) and, probably with
Amalteo's help, to the arch intrados
(SS. Floriano and Urbano, SS. Apollonia and
Lucia). In the same church are also an early
15th-century altarpiece with Enthroned Virgin
with Child and Saints and wooden sculptures
such as St. Martin's Alms (above the organ),
the Crucifix and the Virgin with Pious Women
(second half of the 17th century, Veneto
school). The sumptuous high altar must
instead be attributed to the Friulian Comiz
masters (1750-1760 ca.), harmoniously
containing St. Anthony's Ecstasy painted by
G.A. Guardi (1745 ca.). Finally, mention must
be made of the modern bridge on River
Tagliamento (1970), for its elegant sobriety
harmonising in the surrounding natural
landscape.
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While the Maniago area has been
marked by the century-old tradition of
knife makers, that has provided the
necessary support to its industrial
growth, Spilimbergo has
had a similar
experience
in the field of
mosaic
creation, as
the local
Mosaic School has
worked for decades at
the highest levels, also
obtaining important
international orders. But
Spilimbergo is...go
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