Barghe

PARISH CHURCH OF SAINT GIORGIO

The church was erected at the end of the 16th century in place of a shrine that owned the same title. During the 18th century the choir and the presbytery were added.
The interior of the edifice preserves a considerable number of wooden carvings. However, there are no documents attesting to the artists who crafted these works of art.
Nowadays, the soasas contain glimpses of different epochs and in all probability were composed by different artists. Among all the art works, the soasa of the Crucifixion altar is the most complete and can certainly be attributed to the Boscaì studio, of the Pialorsi family. The softness of the carving, the pronounced chiaroscuro and the twisted columns adorned with flowers are all elements that remind us of the artistic studio of Levrange.
The lateral statues of the Faith and Hope in God, and the piece in the centre of the moulding of the Charity, allude again to other statues of the soasas by the studio of Levrange. In particular, the centrepiece has a maternal aspect in its pose and a truly human appearance in the strength and vigour of the nudity which is made gentle by the presence of two cheerful children who are playing with her gown. Most probably this soasa was created by Francesco, who was an extremely prolific artist from 1700 to about 1730/35. It is possible that his son Giovanni Battista helped him.
The crucifixion, of a strong emotive entity, composed with a plastic and substantially classic style, precedes the soasa of many years. It is related to many other crucifixions of the churches of Valsabbia made during the first half of the 17th century. The altar dedicated to Saint Rocco hosts a soasa which is not attributed to the Boscaì family studio. In this art work a linear conception of the adornment domains the style.
In place of the ciborium, there is a beautiful, small statue of the Madonna which is surely made by Francesco Pialorsi and possibly carved around 1730. This statue is inserted in a small soasa. Also, the choir of the pipe organ is a work by the Boscaì family studio.
The altar-piece of the Last Supper is particularly elegant, largely due to the chromatism effect. The red colour is well balanced with the blue of different tones. The artist remains unknown even if the most possible hypothesis attributes the work to the painter Gandino.
On the altar of Saint Rocco, an extraordinary painting by Zenone Veronese representing Saint Rocco is inserted in the wooden soasa. Such a painting is the only one of its kind in the whole valley from Roè Volciano to Bagolino which is made by Veronese.
On the altar of Saint Rosary an attractive altar-piece of the 17th century stands out. This painting presents little angels who hold the Madonna with the Infant in the centre while two larger angels stand to the sides and Saint Domenico and Saint Caterina da Siena are at the Madonna’s feet in a pose of prayer.
The painting originating from the Sanctuary of Saint Gottardo, which represents the Madonna with Infant showing herself to the Saint Gottardo and Pietro, has the aspect of a popular vote and is very simple in the planning. Finally, above the main altar a fresco represents Saint Giorgio and the dragon. (Autore Traini)

CHAPEL OF SAINT GOTTHARD (GOTTARDO)

The chapel of Saint Gotthard is located along the Caffaro River highway (Strada Statale del Caffaro, SS 245) on a knoll of the Colmo mountain, which is a rock composed of dolomite and limestone that was shaped during the Triassic Period about 230 millions years ago.
The church-shrine was possibly built in the 15th century and, later, enlarged at the beginning of the 16th century. It was an ancient shrine erected by the pious believers from Barghe in memory of the saint Bishop of Hildesheim, Saint Gotthard, who was born in 960 AD in Ritembach, northern Bavaria. The devotion to Saint Gotthard was extremely unstinting, in so much as at the end of 16th century there were two shrines dedicated to him in the village of Barghe.
The presbytery is adorned with 17th century stuccos, which still preserve the Baroque wealth of decorations. From the vault an alto-relievo domains the chapel portraying the Holy Father. On the cupola there is a medallion of the Madonna with Baby Jesus and at the sides two small medallions representing faith and hope. In the apse there are three niches containing the statue of Saint Gotthard in the middle, the statue of Saint George to the left and the statue of Saint Louis to the right. The three niches are in concrete and possibly they hide more precious artwork treasures.
Thanks to the peoples generous charity the mass was able to celebrate daily for many years. This charity also provided for the needs of a hermit who served the shrine and the parish church.
In the 18th century two altars were added, one dedicated to Saint Apollonia and Saint Lucia and the other to Saint Francis of Assisi. The alter-pieces are still present in the chapel, although the statues representing Saint Apollonia and Lucia were ruined by thieves who removed the heads of the Saints.
An intriguing aspect of the church is the cave attended by the believers. Inside this cave, a small spring of water drips from the rock, to which a curative power is attributed. All around there are the first signs of stalactite that create an enchanting environment. The legend tells of prehistoric artifacts that were found there, but it is unknown where they were stored.

Bibliografia:

U. VAGLIA, Storia della Valle Sabbia, Brescia, s.d.,