barga – duomo di san cristoforo
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Barga is part of hidden Tuscany, a town with a view of the Apuan Alps in a region known as the Garfagnana, north of the town of Lucca. Barga is a medieval town ( about 6000 inhabitants) of Longobard origin but with a definite Florentine flavor. The town lies on a hilltop (elevation 410m, 1370 ft.) in the valley of the river Serchio, also known as Garfagnana. The region is famous for its Farro grain, the food of the ancient Roman legions. This is the only part of Tuscany featuring high mountains where eagles and other birds of prey still soar.
Ther are seven ancient churches within or just outside the town walls including the majestic Duomo begun before the year 1000, which features art work by the incomparable medieval painter/sculpturer Andrea Della Robbia, and a splendid pulpit attributed to the sculptor Guido Bigiarelli da Como. The cobblestone paved square (Arringo) in front of the Duomo is the best vantage point for viewing breathtaking sunsets. The churchs of Barga are particularly interesting to visit during the two feast of the town's two patron Saints S. Cristoforo (July 25) and S. Rocco (August 16) when they are decked with flowers and other decorations.
Duomo dedicato a San Cristoforo (cathedral) (11th-16th centuries), the main example of Romanesque architecture in the Serchio Valley. Of the original church, built in local limestone, parts of the façade remain. The interior has a nave and two aisles. It houses a large (3.5 m) wooden statue of St. Christopher, patron of the city.
The Cathedral of Barga, dedicated to Saint Christopher, is located on the top of a hill that dominates most of the Serchio valley with the Appennine mountains behind it and the majestic Apuan chain of mountains in front
The primitive construction dates back to before the
year 1.000 and further
modifications took place centuries
after until its completion
On the side door facing north there is a splendid architrave decorated with a bas-relief attributed to the Lucca artist, Biduino (12th c.)
Chiesa di San Salvatore, Lucca architrave by Biduino
The main entrance of
the cathedral features an overhanging arch carved
with acanthus leaves. The architrave is embellished with a bas-
relief, depicting a
grape harvest.
The main entrance of the cathedral
Lions symbolizing the strength of the
faith stand atop each of the two
columns flanking the entrance. The
facade is also adorned by a
double row of small arches carved with
human figures, animals, and other
decorations.
Stepping into the
dim interior the nave is a big open
space, broad and
long, paved in warm,
rose-brown marble,
with square pillars on each side supporting
graceful arches above.
The interior has a nave and two
aisles. It houses a large (3.5 m) wooden
statue of St. Christopher, patron of the
city.
The choir area is situated behind the altar. Above it is a niche holding a large wooden statue of St. Christopher, patron saint of Barga. The statue is believed to have been carved around the year 1000. Above it is an oval glass window from the 14th century showing the Holy Family similar in design to that in the Convent of St. Elizabeth in Barga and attributed to Lorenzo di Credi.
Main Altar
Il fonte battesimale
On each sides of the choir box are two chapels. The Holy Sacrament Chapel is on the left having at the centre of the Baroque altar a lovely painting by an unknown artist which besides depicting St. Joseph, St. Rocco and St. Anthony, shows Barga as it was in the 16th Century with its cathedral bell tower and battlements. Inserted in the painting there is a 13th Century painted panel representing the Madonna del Mulino (Our Lady of the Mill), also by an unknown artist. This painting was commissioned in 1527 by the people of Barga during a severe epidemic of cholera and has been carefully restored after being found badly neglected in the nearby Church of San Francesco.
On the wall above, next to the fresco depictung Santa Lucia, is a
painting of St. Christopher,
patron saint of Barga,attributed
to the painter Lucchese
Tofanelli (17th century).
Santa Lucia
Holy water stoups
Holy water stoups
crucifix made in the Giottoesque style by “The Master of Barga”
Madonna con Bambino fra San Sebastiano e San Rocco (attribuita alla Bottega del Buglione 1527-1528)
Tabernacolo Adorazione del Bambino attribuited to Andrea della Robbia (1490-1495)
Ciborio degli Olii Santiattribuited to Andrea della Robbia (1490-1495)
The inside of the church is composed of a nave and two aisles
supported by pillars and is divided into two parts by
large decorated
balustrades
Pluteus (The dividing wall)
In architecture pluteus mean
a massive balustrade
with rectangular
plates
The church has a
dividing wall made of shining
stone known as jasper, the
same stone used
to cover the walls of
the Cappella
dei Principi, in the
Church of San
Lorenzo in Florence.
Pluteo details
Pluteo details
Next to the right-hand pluteus, there’s the famous pulpit dating back to the second half of the 12th century attributed to Guido Bigarelli, known as Guido da Como,
The 13th Century marble pulpit is attributed to the Como school of Guido Bigarelli, and is the most precious work of art inside the Duomo. The symbolism of its sculpted figures is quite complex.
In the section on the right is the figure of the prophet Isaiah. In the front there is a representation of the Annunciation and the Birth of Christ with an inscription in Latin which explains the symbolism.
In the section on the right is the figure of the prophet Isaiah. In the front there is a representation of the Annunciation and the Birth of Christ with an inscription in Latin which explains the symbolism.
In the left section the Adoration of the Magi is depicted, but is blocked by a group of figures representing the four Evangelists. The human figure represents Mathew, the lion, Mark, the ox, Luke and the eagle, John.
The other human
figure on the left has
been interpreted in different
ways. Some
identify it as Joseph, others as
Moses and others still, as Aronne,
the first priest
chosen by God.
the back side of the pulpit Il Battista
Four marble columns hold up the rectangular case:
the two front columns rest on two marble lions, one of which is attacking a man lying beneath its mouth. A dwarf forms the base of another column.
The two lions at the base of the columns symbolise the triumph of Christianity over evil and heresy. The lion on the left has a serpent (evil) between its legs and the one on the right holds a man (heresy) who is stroking the lion with one hand while stabbing it with the other.
Sound: Roberto Alagna – Agnus Dei
Text and pictures: InternetCopyright: All the images belong to their authors
Presentation: Sanda Foi oreanuşwww.slideshare.net/michaelasanda