| Municipality of San Vito al Tagliamento
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Pop.: 13,316
Area: 60,71 sq. km, 30 m a.s.l.
Neighbourhoods: Carbona, Gleris, Ligugnana,
Prodolone, Savorgnano, Braida Bottari, Casabianca,
Rosa
Town Hall: Piazza del Popolo, 31 - 33078 San Vito al Tagliamento
Phone.: 0434.842911 Fax: 0434.842970
www.comune.san-vito-al-tagliamento.pn.it
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A visit to San Vito may begin
from the Town Hall, namely
Palazzo Rota (15th cent.), huddled
on the 14th-century walls at one end
of the porticoed Piazza del Popolo.
Embellished with fragments of 15th-century
mural painting, it is one of the most
prestigious noble residences in town, among
which others must be mentioned, too:
Palazzo Altan-Fancello, with frescoes by
A. Bellunello (end of 15th cent.) extending
along the whole façade as a floral tapestry,
the imposing Palazzo Altan in Borgo
Castello (whose difficult restoration is being
carried out and where a wall frieze,
seemingly in Bellunello's style, has been
recovered), and Palazzo Tullio Altan, with
its large park housing the Provincial
Museum of Country Life. The mansion of
an important family has produced the late-
Gothic fresco fragments exhibited in the
Civic Museum portraying Costanza
d'Altavilla forced to leave the convent,
Sybils, allegorical figures and Virtues
(1440 ca.), probably due to artists from
central Italy arrived in San Vito at the behest
of Antonio Altan, papal nuncio and bishop of
Urbino. As for churches, together with the
18th-century church of the Monastero della
Visitazione, the church of San Lorenzo is
the only one outside the old ring of walls
(still visible today thanks to the three keeps
and gates: the Raimonda keep to the west,
the Scaramuccia to the east, the Grimana to
the south);
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this church still preserves, on the
nave pilasters, fragments of 16th-century
frescoes witnessing the enlargements (in the
17th cent.) made to the original 1400s
single-nave building, as well as a
penetrating San Vincenzo Ferreri by
Bellunello (1481) and a gusstein (a mixture
of plaster and ground sandstone) 15thcentury
Vesperbild. All the other churches
are located inside the walls, starting with the
Annunziata, with 14th-15th-century painting
(façade frescoes with SS. Christopher and
Vito, several other Saints inside, as well as
an Annunciation and other paintings of the
Virgin, culminating in
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the Coronation of the
Virgin on the vault) and down to the Duomo
dedicated to SS. Vito, Modesto and
Crescenzia. Inside the duomo there are kept
works by Padovanino and Carneo, but
mainly by the Renaissance artists that were
most active in the area: Bellunello, with his
Virgin with Child and SS. Peter and Paul
(triptych dated 1488), and Amalteo, with the
paintings decorating the panels and
-cantoria- (singers' gallery)
of the organ (1566 ca.), the
altarpiece with St. Sebastian
and SS. Rocco, Cosma,
Damiano and Apollonia
(1533), the Mourning of
Christ removed from the
Cross (1577) and the
Resurrection (1546).
Amalteo's is still the hand of
the choir fresco in the
adjacent church of Santa
Maria dei Battuti, also
boasting a portal by
Pilacorte (1493) and altar
with marble frontal by
P. Baratta (1707), in which
the floating mantle of the
Virgin of Mercy shelters the
praying members of the
confraternity. This building
is the extreme end of the
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complex of Ospedale dei
Battuti (now the venue of
art exhibitions among which
the exhibition of
contemporary art -Hic et
Nunc-, held in spring and
summer), including an older
church with fragments of
14th-century frescoes. The
whole San Vito area is rich
in naturalistic places, as the
pleasant spring called
-Pissarelle- (that can be
reached by taking, just
outside town, the road to
Bannia), and scattered with
villas, such as Ca' Bianca,
built in the 1700s at the
behest of factory-owner
J. Linussio. Great
importance is given to the
church of Santa Maria
delle Grazie at Prodolone,
owning to its apse frescoed
by Amalteo (Stories of
Mary, 1538-1542, showing
dynamic compositions and
unrestrained fancy in the
grottesca style); the interior
is dominated by an imposing
wooden altar by G. Martini
(1515) reminiscent of
Tolmezzo's style
15th-century works in the
evenly ranged layout of
statues with respect to the
complete spatial unity of the...
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The whole central-eastern area of the
province is deeply marked by the
presence of waterways (which are
torrential streams at their sources
and acquire a more regular
flow further south),
first of all River
Tagliamento,
marking the eastern
border of the province,
whose fords have
determined the
distribution of towns
for centuries, hence the
impressive images of...go
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