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  • 57,88 sq. km
  • 525 m a.s.l.
  • 2,218
Town Hall:
  • V. Caduti 2 Maggio, 140
  • 33025 - Ovaro (UD)
  • Agrons, Cella, Chialina, Clavais, Cludinico, Entrampo, Lenzone, Liariis, Luincis, Luint, Mione, Muina, Ovasta

Numerous finds confirm that the valley of Gorto, of which Ovaro is the most important municipality, had been inhabited since remotest times, but the oldest document mentioning it is dated to 1119, namely the foundation of the Abbey of Moggio to which the Pieve of Gorto belonged. The pieve of S. Maria stands on a rock spur near the cemetery not far from Cella, and it is one of the oldest religious buildings in Friuli since its origins date from the 8th century. The presentday church was built by master mason Simone di Mena in 1431 on the site of a previous building destroyed by a fire, and it has been restructured several times during the

centuries. Recent restoration works have shown mutilated, though still enjoyable, frescoes of the Wise and the Foolish Virgins, datable to the Romanesque period (early 1200s). The church also contains a wooden set with St. Martin and the poor, a 1500 ca. sculpture by Domenico da Tolmezzo (coming from the nearby small church of S. Martino) and an altarpiece with the Virgin, S. Peter and S. John dated 1567 and signed by Giuseppe Furnio, the painter form San Vito, showing a lovely view of the Ovaro valley, a sunny wide valley in which historical villages lay. At Mione, Palazzo Micoli – Toscano was built in 1836 by

architect Giovanni Battista Bassi from Pordenone in a splendid panoramic site, dominating the valley of Degano: cube-shaped, with regular rows of windows and the outstanding green sloping roof on all four sides, the palazzo is easily recognizable from far away. The close-by small church contains a wooden altar with nine statues carved in 1549 by Simone di Paolo, as well as a pleasant cycle of naïf frescoes (ca. 1510) by Pietro Fuluto: the Flight to Egypt is enchanting, with the sweet face of the Virgin and naïf background landscape. Also the church of S. Caterina at Luint was frescoed by Pietro Fuluto (1519) in the choir with holy figures and Stories of S. Caterina, enchanting for their innocence and popular storytelling qualities, so that, for example, in the scene of the Saint’s martyrdom, the wheel, which the angel breaks with its sword, though being the torture tool becomes the central element of the

composition, making all the other figures and objects fall into the background. Pietro Fuluto’s trait is found again in the church of SS. Vito, Modesto and Crescenzia at Liariis, where the apse of the old church, now a side chapel, the ribbed vault and – partly – the walls are decorated with a cycle of frescoes datable to 1515. Above the high altar, a wooden altarpiece on two levels, partly carved and partly painted, by Simone di Paolo, is framed inside an elaborate 18th-century wooden frame attributed to Eugenio Manzani. Modest 16th-century frescoes are found in the church of Luincis (1552) attributed to Giuseppe Furnio, while older frescoes with scenes from Christ’s Passion datable to the 15th century are in the church of Entrampo. Finally, in the church of Muina, some paintings with Apostles are attributed to Nicola Grassi (early 1700s).

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