Hotel Spilimbergo, Restaurants Spilimbergo, Bed and breakfast Spilimbergo, Holiday Farms Spilimbergo
- 72,47 sq. km
- 132 m a.s.l.
- Piazza Castello, 4
- 33097 - Spilimbergo (PN)
- Barbeano, Baseglia, Gaio, Gradisca, Istrago, Tauriano, Vacile, Brindisi, Bussolino, Casasola, La Favorita, Navarons
The historic centre of Spilimbergo developed radially around the medieval Castle fronting on the pebbly riverbank of the Tagliamento, in what was once a strategic position for trading thanks to the presence of river fords. The frescoes on the court façade of the castle date to the late 1400s: the work of A. Bellunello, they were probably commissioned by Alvise of Spilimbergo to celebrate the close relationship between his own family and the Altan family from San Vito; in the best preserved parts, from above, it is possible to recognize portraits of men inside clipei, then coat-of-arms, the four cardinal Virtues, figures with musical instruments and pages holding the reins of rampant horses. Once you cross the moat bridge, two impressive buildings front onto the wide square: the Renaissance Loggia (former Town Hall, the latter now housed in nearby Palazzo Spilimbergo di sopra) and, opposite, the Duomo of Santa Maria Maggiore (behind whose apse is the small church of Santa Cecilia, where a Martyrdom of two Saints by Narvesa is preserved). Many religious buildings are worth a visit, as the church of San Giovanni Battista, for example (whose interior is dominated by the fresco of a suffering Crucifixion- early 15th century- set in the high altar as an altarpiece; in an altar to the right is a Visitation by G. Narvesa -1588-), or the church of San Rocco (with a tender representation of the Saint by the same author dating to the early 1600s), or yet the oratory of San Giovanni dell’Eremo in the suburbs towards Dignano (preserving inside the Agnus Dei, Apostles and Stories of the Baptist 14th-15th cent.). In the historical centre, some buildings are noteworthy for their frescoed façades, in particular Palazzo Monaco (15th cent.) and the so-called painted house near the eastern tower; close to the house, another building shows a Crucifixion and Saints in the porch attributable to Narvesa as well. In the immediate surroundings of the town, Pordenone left his traces almost everywhere: frescoes by his hand are found in the church of San Marco at Gaio (before 1506, while the1490 portal is by Pilacorte) and mainly in the church of San Lorenzo at Vacile (1506-1510 ca.), whose apse webs clearly show (for example in the different technique used in shading) the gradual detachment of the artist from the almost exclusively graphic traits of his formative years, namely from what is shown, instead, on the walls of the church of Sant’Antonio Abate at Barbeano, dominated by the first organic cycle of frescoes by Gianfrancesco da Tolmezzo in Friuli (before 1489). The great drawing skill of the master is revealed mainly in the Doctors of the Church, Evangelists and Prophets on the vault, relentlessly defined by the details of beards, lecterns and cathedra doors foreshortened in the Venetian style. The persistence of Pordenone’s style in the works by his main follower is instead visible in the church of Santa Croce at Baseglia, with the wall cycle signed by P. Amalteo (1540-1550 ca.) showing its happiest moments in the vivid grottesca decorations of the intrados and in figures graced with sensual Mannerism such as Charity on the left abutment. At Tauriano, the choir walls in the church of San Nicolò are covered with frescoes by Giovan Pietro da Spilimbergo (1502), relating Episodes from the Old and New Testaments and Stories of San Nicolò.