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Area:
  • 60,71 sq. km
Altitude:
  • 30 m a.s.l.
Population:
  • 13,316
Town Hall:
  • Piazza del Popolo, 31
  • 33078 - San Vito al Tagliamento (PN)
Neighbourhoods:
  • Carbona, Gleris, Ligugnana, Prodolone, Savorgnano, Braida Bottari, Casabianca, Rosa
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A visit to San Vito may begin from the Town Hall, namely Palazzo Rota (15th cent.), huddled on the 14th-century walls at one end of the porticoed Piazza del Popolo. Embellished with fragments of 15th-century mural painting, it is one of the most prestigious noble residences in town, among which others must be mentioned, too: Palazzo Altan-Fancello, with frescoes by A. Bellunello (end of 15th cent.) extending along the whole façade as a floral tapestry, the imposing Palazzo Altan in Borgo Castello (whose difficult restoration is being carried out and where a wall frieze, seemingly in Bellunello’s style, has been recovered), and Palazzo Tullio Altan, with its large park housing the Provincial Museum of Country Life. The mansion of an important family has produced the late- Gothic fresco fragments exhibited in the Civic Museum portraying Costanza d’Altavilla forced to leave the convent, Sybils, allegorical figures and Virtues (1440 ca.), probably due to artists from central Italy arrived in San Vito at the behest of Antonio Altan, papal nuncio and bishop of Urbino. As for churches, together with the 18th-century church of the Monastero della Visitazione, the church of San Lorenzo is the only one outside the old ring of walls (still visible today thanks to the three keeps and gates: the Raimonda keep to the west, the Scaramuccia to the east, the Grimana to the south); this church still preserves, on the nave pilasters, fragments of 16th-century frescoes witnessing the enlargements (in the 17th cent.) made to the original 1400s single-nave building, as well as a penetrating San Vincenzo Ferreri by Bellunello (1481) and a gusstein (a mixture of plaster and ground sandstone) 15thcentury Vesperbild. All the other churches are located inside the walls, starting with the Annunziata, with 14th-15th-century painting (façade frescoes with SS. Christopher and Vito, several other Saints inside, as well as an Annunciation and other paintings of the Virgin, culminating in the Coronation of the Virgin on the vault) and down to the Duomo dedicated to SS. Vito, Modesto and Crescenzia. Inside the duomo there are kept works by Padovanino and Carneo, but mainly by the Renaissance artists that were most active in the area: Bellunello, with his Virgin with Child and SS. Peter and Paul (triptych dated 1488), and Amalteo, with the paintings decorating the panels and -cantoria- (singers’ gallery) of the organ (1566 ca.), the altarpiece with St. Sebastian and SS. Rocco, Cosma, Damiano and Apollonia (1533), the Mourning of Christ removed from the Cross (1577) and the Resurrection (1546). Amalteo’s is still the hand of the choir fresco in the adjacent church of Santa Maria dei Battuti, also boasting a portal by Pilacorte (1493) and altar with marble frontal by P. Baratta (1707), in which the floating mantle of the Virgin of Mercy shelters the praying members of the confraternity. This building is the extreme end of the complex of Ospedale dei Battuti (now the venue of art exhibitions among which the exhibition of contemporary art -Hic et Nunc-, held in spring and summer), including an older church with fragments of 14th-century frescoes. The whole San Vito area is rich in naturalistic places, as the pleasant spring called -Pissarelle- (that can be reached by taking, just outside town, the road to Bannia), and scattered with villas, such as Ca’ Bianca, built in the 1700s at the behest of factory-owner J. Linussio. Great importance is given to the church of Santa Maria delle Grazie at Prodolone, owning to its apse frescoed by Amalteo (Stories of Mary, 1538-1542, showing dynamic compositions and unrestrained fancy in the grottesca style); the interior is dominated by an imposing wooden altar by G. Martini (1515) reminiscent of Tolmezzo’s style 15th-century works in the evenly ranged layout of statues with respect to the complete spatial unity of the later example by Mortegliano. In the nave, there is a Virgin of Mercy by A. Bellunello (third quarter of the 15th cent.). Also the parish church of San Martino shows painted fragments in the nave attributable to the San Vito artist, while Antonio da Firenze (end of 15th cent.) seems to have been the author of the apse frescoes (Crucifixion and other scenes from Christ’s Life on the walls, Evangelists, Doctors of the Church and Martyr Saints on the vault and intrados of the -arcone-). At Gleris, the church of Santo Stefano shows, among other fragments of Renaissance wall painting, a picture of San Gottardo attributable to Andrea Bellunello’s late 1400s production. Two more frescoes by Bellunello are found at Savorgnano in the parish church of San Giacomo, namely a triptych with SS. Rocco, Biagio and Sebastian (end of 15th cent.) and an Enthroned Virgin with Child and the client’s daughter (1490); in the church also a wooden sculpture of the Virgin of Mercy with Sta. Barbara and Sta. Margherita (end of 15th cent.) is preserved, as well as polychrome sculptures attributable to Bartolomeo dall’Occhio’s circle coming from the rural church of Santa Petronilla, the latter embellished with the choir frescoes by G. Furnio, with Evangelists and Doctors of the Church on the vault and Stories of the St. Petronilla on the walls (1552).

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