Hotel Pinzano al Tagliamento, Restaurants Pinzano al Tagliamento, Bed and breakfast Pinzano al Tagliamento, Holiday Farms Pinzano al Tagliamento
- 21,76 sq. km
- 201 m a.s.l.
- Via XX Settembre, 53
- 33094 - Pinzano al Tagliamento (PN)
- Costabeorchia, Manazzons, Valeriano, Borgo Ampiano, Campeis, Colle, Mizzeri
From the parvis of Santo Stefano at Valeriano the view sweeps the horizon over the plain towards Spilimbergo, but inside the church the beholder’s gaze reaches as far the earliest painting by Pordenone, whose frescoed triptych dated to the year 1506, portraying SS. Valerian, Michael Archangel and John the Baptist is still visible. The graphic layout in this fresco still reveals the influence of artists such as Gianfrancesco da Tolmezzo, from whom, however, G.A. de’ Sacchis will detach himself relying more and more on light and colour to render space and volumes. To a later date (1524) is traced the monumental decoration the artist realized on the façade of the close-by oratory of Santa Maria dei Battuti, whose frescoes (now better preserved inside, though their sinopias have been reinterpreted on the outside) portray SS. Valerian, John the Baptist and Stephen on the lower level and the Adoration of the Magi on the upper level, the latter centred around the Enthroned Virgin with Child and Angels. A towering St. Christopher is on the right, while under the eaves gutter putti, birds and turtles are reminiscent of dynamic grottesca decorations.
To more or less the same years date back his Nativity with SS. Antonio and Floriano and the Flight to Egypt (1527) on the left wall, one of the most lyrical examples of Pordenone’s production, apart from being the evidence of the artist’s full command of the chromatic variables specific to such type of painting technique. On the right wall and vault are fragments of 14th-century frescoes with Stories of the Virgin, the Last Supper and Trinity, while a painting by G. Narvesa (1595-1598 ca.) is on the altar, showing the author’s ability in giving coherence to the most complex subjects. Both mentioned churches boast Renaissance stone portals, respectively by Carlo da Carona (1508) and G.A. Pilacorte (1499). Following Pordenone’s traces, the next stop is necessarily Pinzano, with the frescoes in the parish church of San Martino, where an Enthroned Virgin with Child, Angels and offerers (1525) marks the highest magnificence of volumes and a St. Sebastian among SS. Santi Rocco, Stephen, Nicola and Michael Archangel (1527 ca.) exemplifies the artist’s skill in making variations on landscape themes, at the same time interweaving with such variations the figurative standards of Mannerism in Veneto and central Italy. The latter is the case of a few fragments showing how decoration once extended to the adjacent south wall (St. Martin’s Alms, Confraternity Procession, Sant’Antonio Abate) and, probably with Amalteo’s help, to the arch intrados (SS. Floriano and Urbano, SS. Apollonia and Lucia). In the same church are also an early 15th-century altarpiece with Enthroned Virgin with Child and Saints and wooden sculptures such as St. Martin’s Alms (above the organ), the Crucifix and the Virgin with Pious Women (second half of the 17th century, Veneto school). The sumptuous high altar must instead be attributed to the Friulian Comiz masters (1750-1760 ca.), harmoniously containing St. Anthony’s Ecstasy painted by G.A. Guardi (1745 ca.). Finally, mention must be made of the modern bridge on River Tagliamento (1970), for its elegant sobriety harmonising in the surrounding natural landscape.