Pertica Bassa

SAINT BARTHOLOMEW CHURCH IN AVENONE

Consacrated in 1625 this church was erected on the place of the former chapel and is dedicated to Saint Bartholomew.
The exterior is plain, but once you enter the church, you will be surprised by the rich artistic patrimony of its interior. On your first sight you can see the splendid wooden altar piece on the main altar, which was realized between 1686 and 1687 by a sculptor Baldassar Vecchi from Ala ( province of Trento) in collaboration with Giovanni Pietro Bonomi, a woodcarver from Avenone. Pay attention to the two magnificent couples of the male caryatid called Moors. One of them was several times without succsess requested by Gabriele D’Annunzio as he would like it to ornate his villa in Gardone Riviera.
The frame contains a retable depicting the martyrdome of the Saint realized in 1670 by G. Battista Bonomino and then adopted to a new altar piece.
Other three altars are also remarkable. The one dedicated to Saint Rosary represents a Baroque retable carved by family Pialorsi Boscaì from Levrange around 1705, year in which these artists realized the choir of the organ carved from walnut tree wood. The altar retable was created by Grazio Cossali and it portrays the Virgin with Saints Catherina and Domenico, dating to the 16th century.
Other altars are dedicated to S. Peter and in the part of Crucifixion are enriched by two wooden retables realized in early 17th century and late 15th century. The latter one used to be the retable of the main altar in the former chapel. The paintings of these altars, particularly the one of S. Peter’s altar, are all worth seeing, even though their authors are unknown.

ST. ANTONY FROM PADUA AND GAETANO CHURCH IN SPESSIO

Not far from Avenone there is a small hamlet called Spessio, a cluster of houses dating to the15th century. Spessio is placed in a delightful position, where access of cars is forbidden. Narrow, cobbled streets lead to the church which was built in the 16th century thanks to the inhabitants’ will. The church is surrounded and protected by the around standing houses. Its not very high bell tower doesn’t exceed much over their roofs. The façade is executed in harmonic baroque style and it is embellished by a splendid portal made from the local black stone. Inside, there is a precious main altar with an altar piece by unknown artist. The second lateral altar is simple and it is dedicated to Madonna del Carmine.
The navy vault and the one of presbytery show the very fine stucco decorations, frescoes by Corbellino which illustrate the life episodes of the two Saints to whom the church is dedicated.

S. MARIA ASSUNTA CHURCH IN FORNO D’ONO

This church was built originally in 1338, it was rebuilt in the middle of the 16th century and consecrated in 1652.
From the former small church there is preserved only one splendid fresco polyptych depicting the Virgin Mary Enthroned with the Infant Jesus with three Saints.Three Saints are portrayed in life-size and unfortunately their identity still has not been defined. Three Saints are looking at Virgin Mary with the child.
The painting is dominated by the figure of Virgin Mary dressed in a dark blue mantle, the colour which together with red prevails in this painting. Virgin Mary is seated on the late Gothic throne.Her face is slightly reclined towards the small head of the Infant Jesus, almost caressing it. The Infant Jesus is raising his right hand as if he would like to caress the face of his mother. This fresco is considered the most antique of the whole Sabbia Valley dating back to the first decades of the 13th century. It was restored and brought into the light in 1983 during the restauration works. The church has got very elegant baroque façade. Inside, the main altar is embellished by ciborium, work by Boscai and by the altar piece from 1652 depicting the Assumption.
During restauration works on the wooden frame, the retable was placed on its original place and so the above mentioned important fresco was covered by it. Two lateral altars are dedicated to Madonna del Rosario/Mary of Rosary and to S. Filippo Neri with interesting wooden retables.
The figures of the fresco portraying four Evangelists are probably realized by Andrea Celesti and they complete the vault of the nave, while the presbytery is embellished by the figure of Virgin Mary.

CHURCH DEDICATED TO GOD AND TO SAINT ROCHE IN LEVRANGE

As the rest of the village, this church was built after the landslides of 1959. Even the old church from 1686 stayed intact, it remained too isolated from the new village. Therefore, all the altars as well as furnishings of the old church were moved to the new one. The main altar with the frontal of the retable and balustrade are made of inlaid marble and it is surmounted by the rich wooden retable realized by Francesco and Antonio Pialorsi Boscaì carved between 1732 and 1734. Like in the Lavenone’s church, here the scene is sustained by two caryatids, however, here they are enamelled in white.
The altar retable is very important, it is attributed to the Coreggio school. In the two other lateral altars on the right, there are retables depicting Virgin Mary with S. Joseph, painted by Romanino and the Virgin of the Saints painted by Mombello. The two left altars are dedicated to Madonna del Rosario/Madonna of Rosary and to Madonna di Fatima/ Madonna from Fatima.
The devotion of the Levrange’s believers to the Virgin Mary demonstrates another small church built on the Mount Zovo in the 18th century. This church lies in an interesting naturalistic position with beautiful scenery views.

S. MARTIN CHURCH IN LEVRANGE

This church is situated few hundred meters from the village on the small tableland protected from the winds. The former church dates back to ancient history, however it was reconstructed in 1530 and it was dedicated to S. Martin from Tours.
The main altar is dedicated to Our Lady help of Christians, the left one to the Christ Crucified and the right one to the Virgin Mary.
In 1983 were brought to light two important frescoes which used to embellish the former chapel. In the first fresco which is dated 29th July, 1529 is depicted the maternity of Virgin Mary. The latter one depicts S. Martin with pontifical insignias.

SAINT ZENONE CHURCH IN ONO DEGNO

Ono Degno has been a parish since the beginning of the 14th century, after it separated itself from the commune of Mura. The ancient origins of this church can be assumed by the fact, that the church is dedicated to the saint of African origins, San Zenone, the eighth bishop of Verona, who died around 372.
The parish church of San Zenone is erected on the beautiful tableland and represents the most impressive and elegant church of the Pertiche area. The external coating has not been finished yet, however one can notice the particular care in the proportion of this church and in majesty of its structure.
On the right side there is a sundial dating to 1694, a testimony of the first construction phases of this church.
The interior of this church is elegant and luminous, it is planned to create scenographic movement and is dominated by the curves of friezes and stucco work. It is animated by the baroque forms which soften the sharp corners and the volume of the nave. In the wall niches there are the statues of saints, starting from the very end of the church, on the right there is: San Luigi Gonzaga – San Pietro/Saint Peter – San Zenone – San Giovanni Evangelista/ Saint John Evangelist – Saint Bishop.
The chapel was the last to be built as the construction of this church was completed in 1734.
Above the choir there is a tribute to the Virgin of Ono Degno: a group of angels show a miraculous image preserved in the sanctuary of Virgin in Grief and Blessed Virgin. Above the main portal there is a painting by Corbellino called: “La Cacciata dei mercanti dal tempio”: “Expulsion of the merchant’s from the temple.” In the sacristy there are preserved several oval paintings attributed to Antonio Dusi. Dusi came from Ono Degno, but he worked in Brescia. His paintings in here depict the Mysteries of Sufferings, Saint Peter, Saint Paul, Virgin in the Grief. The decoration in stucco and the frescoes in the presbytery depict the following: The Last Supper, Saint Zenone in Glory and the four Evangelists. These paintings may belong to Domenico Quaglio, a painter from Laino who together with Corbellini decorated the vaults of San Michael church in Idro and several paintings in the parish church of S. Peter and Paul in Preseglie. Some experts believe him a Voltolini’s apprentice. In the presbytery there is placed a very original altar piece by an uncertain author. The altar piece represents the Madonna of Rosary with San Zenone, Sant’Antonio Abate, St. Cahterina and San Domenico.When we descend from the presbytery, there is a first altar dedicated to the Immaculate Conception. The painting is very precise as it portrays Virgin Mary in her acceptance of Immaculate Conception. The painting was realized between 1731-1732. The altar niche is unique and is attributed to Domenico Voltolini who was very active in the period of the 16th and the 17th century. He has left large number of evidence art work in Sabbia Valley
The second altar represents the Glory of S. Joseph. The altar piece portrays the Glory of S. Josepth, the Saints Antonio Abate, Monica, Vincenzo Ferreri and Peter. Although quality of this painting is really high, the author of this painting remains unknown..The church vault was painted by Paolo Corbellini. Corbellini is an artist coming from Como province, exactly from Intelai Valley and he signs one of his paintings in sacresty dating it 1748. The series of frescos in here are all dedicated to the protector of this parish church:San Zenone, sometimes called San Zeno. He was Mauritanian. He was the eighth bishop of Verona. He is portrayed in bishop’s clothes with a hanging fish on a crosier. This theme should recall us of his habit to fish in the river Adige in order to appease his hunger. Therefore, San Zeno became the patron saint of the fresh water fishermen and anglers.
His story, as it happened with many Saints of the first centuries, became a legend and often the narrated facts show cronologic contradictions. On the vault in the first bay, in the central part appears San Zenone preaching to a clergy man on his right and to a person dressed in oriental clothes on his left. Around him, there are many people dressed in occidental and oriental clothes and they move and act independently from the central scene. On the right, in the upper part, there are some men destroying a statue of Zeus, another statue of a women is already lying on the ground. This scene may be revealing an important message left to us by San Zenone who was one of the most important personalities of the early Christianity. In the four corners of the vault appear four figures of the Old Testament: on the right there is the prophet Ezekiel and the prophet Zechariah; on the left there is prophet Haggai and the King David. In the connecting part between the first and second bay, there is portrayed the scene of Martyrdom of San Zenone. Actually, it seems that San Zenone was not martyzied in the times of the Emperor Gallienus ( Emperor between 253 ad 268 A.C.) as the cronology of their two lives doesn’t correspond. There are many doubts regarding the martyrdom itself. On the side of this scene, there are portrayed the most famous miracles accomplished by San Zenone: on the right you can see the Liberation of the Obsessed and on the left there is portrayed a miracle of the Carter rescued from the flood. The neverending demons combat was a constant of San Zenone’s life and it is also a central theme of the second bay’s painting. The big central painting represents the Gallienus of Rezia donating his crown (afterwards often confused with the Emperor of the same name). Gallieno of Rezia was grateful to Zeno as he exorcised a demon from the body of his daughter. The painting depicts the daughter as well as the escaping devil while a pageboy puts the crown on Zeno’s head. In this scene is pointed out the baroque character of Corbellini’s painting and his ties to Venice school. In the vault corners appear four Doctors of the Church: Saint Ambrose, Saint Jerome on the right, and on the left Saint Augustine and Pope Gregory. The altars of the nave are surrounded by fake frames painted by Pietro Scalvini, an artist coming from Brescia also called Tiepoletto ( lived between 1718 and1792). These fake frames contribute to the sense of homogeneity and lightness of the nave. In the first bay of the nave the fake frames are animated by angels, while in the second bay there are depicted allegories of the virtues and puttos around the altar niches, First altar on the right is dedicated to San Gaetano from Teatine.
The altars on the right present a Venetian Saint who puts the martyrdom palm branch on the Infant Jesus. The Infant Jesus is held up by Saint Anthony from Padua; on the left there is a guardian angel accompanying a young boy. The figures rest on the clouds illuminated by the divine light. In 1734 the altar was completed, however some of its stylistic parts may seem to be more recent. The second altar on the right is dedicated to the Rosary. At the moment, the retable of this altar is under restoration and it has been removed. It represents the Madonna of Rosary with San Domenico, Saint Catherina, San Sebastiano and Saint Roch a work of uncertain attribution. Probable author could be a Brescia artist Ottavio Amigoni. Fake frame painted by Pietro Scalvini represents two allegories – one of them, the one on the left is the Hope and the other one on the right is probably the Charity. The presbytery preserves a marble altar created in 1765 by Gioannino Cavaglieri from Virle, while the marble altar piece which frames the central retable’s part dates back to the16th century.
This retable represents San Zenone in front of the Virgin Mary.

SANCTUARY OF MADONNA DEL PIANTO IN ONO DEGNO

This sanctuary was built in the division of Ono Degno called Beata Vergine to remember a miracle accomplished by the Virgin Mary in 1601 when a little girl, Caterina Dusi saw the picture of the Virgin Mary crying. It was a small paintng on a 15th century plate brought here from Venice by Father Antonio.
The construction of the sanctuary started in 1610 and was completed in 1615. Many important talents contributed to the building and decorations of this sanctuary. The building was designed by the architects G. Battista Lantana and G. Antonio Biasio, who also worked on the Brescia’s Dome project, while the following artists such as Camillo Rama, Andrea Celesti and Antonio Paglia decorated the interior..
The marble main altar was created by Lantana. In 1728 Antonio Paglia painted the altar piece with the birth of the Virgin.
The paintings of the two side altars are also art masterpieces. The one on the right was painted in 1631 by a Crema’s painter G. Giacomo Barbello and represents the Crucifixion. The one on the left depicts the Circumcision. In 1615 the vault of the nave and the presbytery were embellished by Camillo Rama’s frescoes.

S. LORENZO CHURCH IN ONO DEGNO

This church is very ancient and simple, it has got a façade with the door and window placed in the middle and two small windows on the sides, a small bell tower and a sagresty. Inside, there are some recently restored frescoes dating to the 15th century: on the left there is a Virgin Mary with the Infant Jesus, Saint Lucy, Saint Roch, a saint with a sward and sores on his hands and again Saint Roch. The signs of decoration are visible also on the rib vault of the nave. On the altar, in a simple frame, there is a recently restored altar piece. Bishop Bollani visited the sanctuary in 1566 and found the church closed and governed by the people of the community. In 1574 the Bishop Pilati ordered that the sanctuary would be closed with the wooden gate, would be furnished with an altar step, pallium, cross and branched candlestics. Afterwards, the church however had to remain closed.

MADONNA DI TRIBOLI CHURCH IN ONO DEGNO

Dates back to the 17th century. Inside, there is a really unique altar portraying the broken heart Virgin Mary.
Risale al XVII secolo. Presenta al suo interno sull’unico altare una tela raffigurante la Vergine trafitta.

Bibliogafia:
A. Fappani, Enciclopedia bresciana, voce Corbellini Paolo, Scalvini Pietro, Brescia 1978.
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M. Valotti, La presenza di Domenico Voltolini in Valle Sabbia. Considerazioni e proposte, in Commentari dell’ateneo 2001, Brescia 2002.A. Bonomi, Il mondo pittorico valsabbino tra la fine del ‘600 e la prima metà del ‘700, in Commentari dell’Ateneo 2001, Brescia 2002.L. Bresciani, Le meraviglie di un paesino di montagna, Brescia 2004.
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