Luciano Querin
FVG - San Pietro in Carnia
Internally, the Pieve has a single nave, with a raised presbytery and the current sacristy behind it, while the old sacristy is still preserved today to the right of the presbyter. The current structure, after the construction in 1312, was remodeled between the end of the fifteenth and the beginning of the sixteenth century: during the works, a nave was added to the south, designed according to the Gothic canons of the previous one, replacing the imprisoned wall with two tuff columns; it was necessary to obtain a pulpit towards the sacristy with a staircase that would allow one to go up to the upper sacristy under construction and then raise the main door, modernize the canopy and remodel the bell tower. Further changes were made at the beginning of the 1700s. The church with all the superstructures of 1500-1600-1700, has become a very interesting asymmetrical complex from an architectural point of view. Important works of art are conserved in this Pieve: sculptures by Domenico da Tolmezzo (1481-1483), detached from the high altar during the two thefts that took place in 1970 and 1981, an extraordinary plastic translation of similar painted altarpieces from the Venetian Renaissance. Worthy of note is the canvas representing the conversion of Saint Paul (16th-17th century), a work linked to stylistic formulas typical of Pordenone. Also interesting is the canvas representing The Delivery of the Keys to St. Peter by Francesco Pellizzotti (1791). The walnut staircase from 1740 leads to the upper sacristy, frescoed in 1582 by Giulio Urbanis from San Daniele del Friuli. The fresco cycle preserved there is one of 5 still completely original and intact, present in various churches in Friuli (among others we remember: Fresis di Enemonzo, San Salvatore di Majano, Valle Rivalpo di Arta Terme and Dierico di Paularo). The statue of St. Peter, by a 15th-century German artist, is one of the few works saved from the raid by thieves in 1981. The altar of the Madonna del Rosario is the work of the painter and engraver Gian Antonio De Agostinis (1590). The choir stalls, from 1734, are the work of Antonio Leschiutta da Zuglio. The wooden altarpiece of Sant'Antonio Abate (1550), in Renaissance style, is enclosed in two Baroque frames; it is attributed to Gian Domenico Dall'Occhio of San Vito al Tagliamento. Behind the altar, the small windows and sinopias of the wall are visible. The baptistery consists of a red stone cup, the work of an unknown artist from 1659, and a wooden tabernacle made by Vincenzo Comuzzo in 1661. The portal and the main door refer to the Gothic style: the latter, in iron, is the work of Nicolò Jancilli of Tolmezzo (1449). Next to the entrance, the Baroque-style organ replaced the previous one from the 1500s. The plateau that you meet at the beginning of the climb, towards the Pieve, has a very ancient history: every year, on the anniversary of the Ascension, the ritual of the "Kiss of the Crosses" takes place: each church, which was once part of the jurisdiction of the Pieve di San Pietro, invites its processional cross decorated with multicolored ribbons to pay homage to the fourteenth-century silver cross of the Florentine workshop of the Chiesa Matrice. This is followed by the procession towards the Pieve where the Holy Mass is celebrated in the presence of the Archbishop of Udine, together with the parish priest of Zuglio and the parish priests of the Valle del But.
FVG - San Pietro in Carnia
Internally, the Pieve has a single nave, with a raised presbytery and the current sacristy behind it, while the old sacristy is still preserved today to the right of the presbyter. The current structure, after the construction in 1312, was remodeled between the end of the fifteenth and the beginning of the sixteenth century: during the works, a nave was added to the south, designed according to the Gothic canons of the previous one, replacing the imprisoned wall with two tuff columns; it was necessary to obtain a pulpit towards the sacristy with a staircase that would allow one to go up to the upper sacristy under construction and then raise the main door, modernize the canopy and remodel the bell tower. Further changes were made at the beginning of the 1700s. The church with all the superstructures of 1500-1600-1700, has become a very interesting asymmetrical complex from an architectural point of view. Important works of art are conserved in this Pieve: sculptures by Domenico da Tolmezzo (1481-1483), detached from the high altar during the two thefts that took place in 1970 and 1981, an extraordinary plastic translation of similar painted altarpieces from the Venetian Renaissance. Worthy of note is the canvas representing the conversion of Saint Paul (16th-17th century), a work linked to stylistic formulas typical of Pordenone. Also interesting is the canvas representing The Delivery of the Keys to St. Peter by Francesco Pellizzotti (1791). The walnut staircase from 1740 leads to the upper sacristy, frescoed in 1582 by Giulio Urbanis from San Daniele del Friuli. The fresco cycle preserved there is one of 5 still completely original and intact, present in various churches in Friuli (among others we remember: Fresis di Enemonzo, San Salvatore di Majano, Valle Rivalpo di Arta Terme and Dierico di Paularo). The statue of St. Peter, by a 15th-century German artist, is one of the few works saved from the raid by thieves in 1981. The altar of the Madonna del Rosario is the work of the painter and engraver Gian Antonio De Agostinis (1590). The choir stalls, from 1734, are the work of Antonio Leschiutta da Zuglio. The wooden altarpiece of Sant'Antonio Abate (1550), in Renaissance style, is enclosed in two Baroque frames; it is attributed to Gian Domenico Dall'Occhio of San Vito al Tagliamento. Behind the altar, the small windows and sinopias of the wall are visible. The baptistery consists of a red stone cup, the work of an unknown artist from 1659, and a wooden tabernacle made by Vincenzo Comuzzo in 1661. The portal and the main door refer to the Gothic style: the latter, in iron, is the work of Nicolò Jancilli of Tolmezzo (1449). Next to the entrance, the Baroque-style organ replaced the previous one from the 1500s. The plateau that you meet at the beginning of the climb, towards the Pieve, has a very ancient history: every year, on the anniversary of the Ascension, the ritual of the "Kiss of the Crosses" takes place: each church, which was once part of the jurisdiction of the Pieve di San Pietro, invites its processional cross decorated with multicolored ribbons to pay homage to the fourteenth-century silver cross of the Florentine workshop of the Chiesa Matrice. This is followed by the procession towards the Pieve where the Holy Mass is celebrated in the presence of the Archbishop of Udine, together with the parish priest of Zuglio and the parish priests of the Valle del But.