Hotel Maniago, Restaurants Maniago, Bed and breakfast Maniago, Holiday Farms Maniago
- 69,11 sq. km
- 283 m a.s.l.
- Piazza Italia, 18
- 33085 - Maniago (PN)
- Campagna, Dandolo, Fratta, Maniago Libero
Maniago is the hometown of famous knife makers (as witnessed by the Museo dell’Arte fabbrile e delle Coltellerie- Museum of smithery and knife makinghoused in the former spinning mills), although it holds interesting artistic surprises. The starting point for visitors must be the Duomo of San Mauro: built in 1488 (but walled fragments of sculptures indicate an earlier history), it has a gabled façade with wide portal, spiral columns betraying, as in the rose window with trefoil arcs, a late-Gothic taste; in the pointed lunette is a blessing Holy Father. The campanile, built slightly later than the church and often modified, appears now in its 18th-century aspect. The trussed-roof single nave of the duomo offers various paintings, from the 14th-century fresco fragments of Saints’ heads in the right apse chapel (showing an interest for Emilian early 14th-century painting common to many local artists, probably influenced by the presence in Veneto and Friuli of Tomaso da Modena and Vitale da Bologna),to the triptych by G. de Cramariis, formed by the side panels with SS. Lucia and Apollonia and the central panel with Death and Resurrection of the Virgin complemented with a small wooden sculpture of Virgin with Child (14th-century, at present replaced by a copy) set against a painted background with two Angels holding the hedges of a red damask cloth. As De Cramariis is also the author of the precious decoration of the Duomo of Spilimbergo choir books, he managed to retain in this triptych the same graphic refinement and colour vividness he had acquired in producing his illuminated printings. The extant fragment of a wide triptych frescoed at the end of the nave left wall- probably attributable to one of Bellunello’s followers- portrays St. Rocco (end of 15th cent.) who must have been accompanied by St. Sebastian and Virgin with Child. The right apse chapel houses the altarpiece by Pomponio Amalteo showing Christ in Triumph among SS. John the Baptist, John the Evangelist, Joseph, Peter and James (1558), while the altar step shows three scenes from the Baptist’s life. Unfortunately, much of Amalteo’s frescoes on the apse vault (1572 ca.) was lost. The Duomo also has conspicuous examples of 17th- and 18thcentury painting as Isaak Fischer’s Trinity of 1668 or, in the left apse chapel Tommaso Vecellio’s Virgin of the Rosary with Child and SS. Domenico and Caterina da Siena (1625), as well as St. Pietro di Alcantara (1720) by G. Brusaferro on the controfacciata or the Altarpiece of San Vincenzo (1765 ca.) by G. De Gobbis on the second altar to the right. Nor are sculptures here less outstanding: suffice it to mention the wooden altars of the Rosary (1628 ca.) and St. Rocco, attributed to Giovanni Auregne’s studio, or the high altar in polychrome marble coming from the Bettanellis’ studio in Venice (1693), or still the baptismal font (1549) after Meduno’s style with putti supporting the basin. Not far from the Duomo the large Piazza Italia spreads around the mid-19th-century monumental fountain. Among the buildings fronting onto the square it is certainly the Renaissance Palazzo d’Attimis-Maniago that catches the eye, with its strong rampant St. Mark’s lion probably painted by Amalteo (mid-16th cent.). Another symbol of the Serenissima’s power is the Virgin with Child in Triumph with Saints and the Venice Republic (1673) by O. Gortanutti in the public Loggia. The nearby church of Immacolata Concezione conceals its Renaissance origins under the 1778 front designed by A. Aprilis and has inside the monument to Nicolò Giacomo of Maniago (1868) with bas-relief by L. Minisini, whereas a wooden altar attributable to G. Auregne and containing a painting by L. Candido (1637) is to be found, instead, in the church of San Carlo Borromeo (1637). Outside the town centre are the older churches of San Lorenzo in Monte and San Giacomo di Castello (before 1291), the latter, crowded up to the castle ruins, still preserving fragments of 15th-century frescoes coming from the old church of Nogaredo al Torre and a few stone reliefs. Frescoes by T. Donadon (1925), a 16th-century stone font with painted wood cover, the high altar with tabernacle in polychrome marble and organ with singers’ gallery by -Zuane Topan- (both dating to the 1700s) enrich the church of SS. Vito, Modesto and Crescenzia at Maniago Libero.