Chiesa di San Lorenzo

The church of San Lorenzo is a single nave, and contains numerous art treasures. Originally the church was oriented north-south and, therefore, the main entrance was to the side today. In effect the inputs were two, one for men and one for women, preceded by a projection consisting of two pillars supporting the roof; the door of the females was topped by a bezel with the date “1275” corresponds to the area of ​​the church where currently is the recess for the baptismal font, one of the men had remained where it was. The transfer of the main entrance on the west front of the church, on the main square of the country takes place in the ’20s. Removed the remains of the rectory leaning against the side of the church and that was burned by the Piedmontese, was adopted at the newly opened portal that was on the south side and bearing in setting the date 1476. The church has undergone interior trim, on the right a baptismal font in travertine the end of ‘400. Below, on the same side, on the wall, the large triptych dell’Alemanno. Follows an altar of Renaissance style dated 1580, the door of the men in line with the tabernacle. On the left a baroque altar with the painting “Madonna and Child”, oil on canvas, by Nicola Monti (XVIII century.) Decorated with medallions that once were embossed copper and up a small square canvas from the same period of the altar depicting the Creator with one hand resting on the terraqueous globe. Here you can admire the beautiful tabernacle travertine. On the walls of the church, once all covered with frescoes, some figures have been performed with the probability of amateur painter Dionysius Hats: the right of the main altar is recognizable San Cristanziano, protector and patron of the campaigns of fallow, left the tabernacle, Saint Lucia with eyes on the chest. The floor of the church is all slabs of travertine, interrupted by tombstones decorated with inscriptions and coats of arms. Il Trittico dell’Alemanno The triptych, painted in tempera on panel, unframed, was designed by Pietro Alemanno dating from around 1482-84 is, according to the Zampetti, among the most happy the way the artist first. The triptych is what remains of a politician went partially dismembered. In the central panel it depicts the Virgin seated on a throne that supports the Child. At the foot of the throne a tiny figure representing a monk, a canon of the patroness of family Spariglia Fallow, who commissioned the work. In the left side panel depicts St. Mark standing; in the right panel is the patron saint, St. Lorenzo. Among the qualities that you recognize all’Alemanno, also found in this triptych, are the restrained tones of colors, among which come yellows, whites and reds that fade into purple, the outlines in black, and above all, the composure of FIGS. This beautiful triptych reminiscent stolen, once kept in the parsonage: a small painting, measures 0.43 x 0.66 of the fifteenth century. The small triptych was constituted by a central panel on which it is closed to stop the two lateral. He represented the Virgin standing in the middle, with the great mantle of green damask gold, violet tunic holding up the baby, in the left panel, top Christ the Saviour and down St. Anthony, right at the top St. John the Baptist and down St. James. The Tabernacle Valuable work in local stone by stone mason talented. E ‘was built in 1510 as can be seen by the inscription below the frame of the triangular pediment. “Anno Domini 1510. This chapel facta do Gintile De Ser Vanni de lu Pagese”. It is a work votive built to implore the Divine against severe famines and pestilences, and dedicated to the Nativity. In the front the tabernacle rests on two pillars faceted ending with Corinthian capitals. In the Decorative elements converge disparate with human figures, alternating with land animals, marine, birds and plant elements. Above the arch are carved figures of Adam and Eve, the sun and the moon. In the vault of the grandstand, framed as in a coat of arms, are painted in fresh and well preserved, the figures of St. Catherine of Alexandria, patron of infants, St. Sebastian invoked against pests, S. Lorenzo protector against fire and diseases of the vineyards and San Emidio. The Quadro Magic In the room called the parliament and next to the church you can read a very interesting epigraphic department although difficult to interpret. On the back wall there is a very large fresco attributed by some to Peter Stephen of that in (September 16) had a difference of payment “of certain paintings made in this church” with the mayors of the Church of San Lorenzo. The fresco depicts a saint sitting on film and color of the unknown past graffiti life testimonies which today represent historical finds of considerable importance that often decipherable passionate local researchers and hunger. Graffiti offer a chronicle petty where dramatic news (the plague, the killing of a man) are mixed with the joyful and festive (a wedding or the number of farm animals killed to celebrate an anniversary) and of product prices agricultural. It should be carefully restored as well as preserve the magnificent fresco also graffiti. On which stands the famous cryptogram or magic square of the Pater Noster: SATORAREPOTENETOPERAR OTAS The phrase is a palindrome, that is also readable from right to left. The five words of the square can be read by rows from left to right and vice versa and from top to bottom and vice versa. Moreover, the two diagonals, the line and the central column are palindromes. The five words contain the words “Our Father.” The cryptogram similar to other specimens back to the third century. D.C. appears otherwise provided. Words Sator Arepo, Tenet Opera Rotas, crossed vertically and horizontally mean: God dominates the earth, the works (of the men) and the course (of life), or the balls (of creation).