Treviso Bresciano

CHURCH OF SAINT GIOVANNI AND CARLO

The little church was built in the XV century and was sporadically used to serve sick people and elderly, who were not able to reach the parish. In the apse of the church there is a rather interesting 17th century triptych, whose Virgin with Infant towers in the centre. Saint Giovanni Battista and Saint Carlo Borromeo contemplate ecstatically the Apparition. At the sides, Saint Antonio Abate and Saint Giovanni Evangelista are portrayed. The set of three wooden artworks is set on a lintel which is supported by two columns and is likely attributed to the well known master carvers from Levrange, commonly called the Boscaì.
Another internal element to be considered is the 18th century confessional built with walnut wood.
Finally, it is to stress the ancient tradition which used to orient the altar towards north-east in the direction of the sunrise, where the radiant dawn, a symbol of the New Sun Christ, illuminates humanity.

THE PARISH CHURCH OF SAIN MARTINO

The origins of the church of Saint Martino are not known due to the non-existence of any trustworthy evidence. The first traces of any evidence go back to the Roman epoch: during the restoration works at the parish house in XXXX some Roman roof tiles were found. These findings lead to the assumption that this was a site used in that period. The particular position of the church, which is located on the top of a hill with a good view of all the valley, allows one to suppose the presence of a fortified installation. Besides, the monastery of Leno had registered some properties in the area of Treviso, and for this reason it is likely that the church of Saint Martino was a part of the land and shrines controlled by the monastery.
Reliable documents state that in the 15th century the church of Treviso depended on the Pieve di Idro, as with all other churches in the area of the high Lake Idro. The relation of dependence was expressed not only through the administration of the sacraments and in the catechesis but also in the obligation to pay fees and duties to the matrix church. In particular, in force was the duty of the Quarantula, which prescribed the obligation for all village dwellers, to pay a fortieth part of the harvest for the needs of the area of Pieve (Quarantula comes from quaranta which means forty in Italian).
In the past, the church of Treviso tried progressively freeing itself from this dependence. In the 16th century it was already autonomous to administrate the sacraments even if with some limitations. In fact, as stressed by the Bishop Monsignor Marino Giorgi in the Atti della Visita Pastorale (Acts of the Pastoral Visit) of the 1624, there remained the obligation to collect the Holy Oil from the Pieve of Idro. Moreover, it is interesting the fact that this collection doesn’t take place any longer by the Pieve of Idro, but rather by the new church of Saint Michele, also determining the transfer of the prerogatives of land control from the Pieve to the new church of Saint Michele.
This tie grew weaker until the 18th century, when the parish of Treviso became wholly autonomous and free of any duty towards Idro. In 1754, an agreement was signed by the respective priests of Treviso and Idro to liberate Treviso from the Quarantula.
The total independence also signed the beginning of a period of reconstruction. The religious revival, present in all diocese of Brescia and parallel with the presence of the Bishop Querini, brought about a desire among the community to enlarge and embellish the church. This was also in response to the needs of the increased population. The realisation of the works were made possible by the joint effort of the new rector appointed in 1707, Don Carlo Nicolini, by the Council and by the people.
The documents of the Parish Archive of Treviso contain the data to list with clarity the phases: in 1723 the construction of the walls were finished but there still remained many works and the adornments to complete; by 1724 the sundial was already in function; in 1725 the high altar was completed; and in 1740 the altars of the Madonna and of the Holy Spirit were also completed. In 1725, the church was blessed in accordance with the decrees of the Council of Trento (1545-1563), but only in 1748 was it consecrated by the Bishop Querini. Previously in 1734, the Bishop visited the church when the works were not complete. During this pastoral visit, the Bishop himself highlighted the poverty and the lowness of the edifice and decided to postpone the consecration until 14 years later when the church had reached a higher esthetic level.
Architecture and decoration
The construction of the church is the result of the religious fervor at the beginning of the 18th century, as with other churches in Valle Sabbia, for example the Santa Maria Assunta in Vobarno.
The façade is simple, but not completely linear, in fact the volumes advance and return, thanks to the presence of pilasters and mouldings. There are no evasion or caprice effects typical of the Baroque style, but the rigorous style highlighted by the Council of Trento which reached the apex in the 18th century. This artistic rigor took advantage in that period reducing the Baroque excesses of the preceding century and alluding to the Neoclassicism, which would influence the following epoch.
The left side of the church is characterised by a colonnade, whose construction was decided in 1842 in order to protect the side of the church from the elements. Furthermore, in the same period the bell tower was reconstructed as it was previously damaged by an earthquake in 1826.
The interior of the church is simple and characterised by the altars, some built anew and others, realized in the old church and reused in the 18th century edifice.
The high altar was created using polychrome marbles by Cristoforo Borri in 1725, as it is indicated on the back. The Milanese native artist moved to Treviso with part of his family, as it is stated in the parish archive. The artist also painted the church of Saint Giovanni Battista in Capovalle. The altar-piece portraying the Virgin, Saint Martino and Saint Rocco, dating back to the 17th century, was owned by the preceding church. Above it, stands a 16th century Crucifix, while the surrounding structure is a lot younger in years.
The 18th century altar dedicated to the Madonna of the Rosary shows 15 small pictures painted with oils and attributed to the Boscaí family studio. In particular, it seems evident the intervention of Giovan Battista Boscaì, who likely created the altar of Sacred Heart also.
It is interesting the altar dedicated to Saint Antonio Abate, which contains a painting representing himself along Saint Rocco and San Sebastiano. Such an altar was originally conserved in Saint Antonio church in Trebbio and moved when the church collapsed in ruins in the 18th century. When the shrine of Trebbio was rebuilt, the decision was made to leave the altar in the parish church and to substitute it with another one.

CHURCH OF SAINT ANTONIO

The parish church of Saint Martino is located out of the village in a splendid position but it is difficult to reach by foot, especially during the winter months. For this reason the believers decided to build a new church closer to the village, which was easily accessible to the people. At the beginning of the 17th century the shrine was built and originally dedicated to Saint Antonio Abate.
The edifice was built against the mountain which as a consequence resulted in grave humidity. Priests and believers were always worried about this problem, so eventually in the 18th century, they agreed to demolish the church dedicated to Saint Antonio Abate in order to build a stronger and larger church. Nowadays, the church has a single altar, which has been dismembered for liturgical reasons. The Lord’s table is made of red marble with white veins and two dainty roses at the sides. In the apse, a magnificent soasa, constituted by two columns which support a wooden tympanum, has been placed. The soasa is attributed to Gaspare Bianchi of Lumezzane. One reads in the ancient books: “… carved in golden and polychrome wood, with acanthus leaf patterns and large flowers on the base; two tall angels, who stand on a column base adorned with alto-relief children and acanthus leafs, which are repeated at the sides. The angles hold up the superior cornice decorated with flowers, indentations, palms and doves. The soasa finishes with an arch adorned with two children surrounding the Holy Father in the centre”.
In this precious art work the 17th century oil altar-piece representing the apparition of the Virgin to Saint Antonio of Padua has been inserted. However, it is known that originally the high altar portrayed Saint Antonio Abate along with Saint Rocco and Saint Sebastiano, a painting temporarily placed in the parish church and finally not being removed. Perhaps for this reason the rebuilt church was simply dedicated to Saint Antonio.

LITTLE CHURCH OF THE MADONNA OF THE SNOW IN FOBBIA

The decision to build the church was taken in 1967 after having wished it in 1952. The church was built in only sixteen labour days and blessed on the 6th of August, 1967. The church was dedicated to the Madonna of the Snow, and fixed with a holiday celebration on the first Sunday of August. Not far from the church, a marble monument was built by the Alpini Military Group in 1982, and dedicated to Don Giovanni Ragni, who was the promoter of the church.
The position of the church is particular because it is located at an altitude of exactly 1,000 metres. The church can represent the destination of a one day pilgrimage, by walking from the centre of the village, in order to light a candle for the dearer people and to enjoy the splendid panorama.

THE SANCTUARY OF SAINT LIBERALE

The shrine represents a place of deep devotion. The little sanctuary of Saint Liberale was built in 1640. Treviso is the only village of the province of Brescia where such a Saint is venerated. The reason for this singleness is in all probability the ideal connection with Treviso, a Venetian city where Saint Liberale is the patron. The elegant 18th century soasa by the Boscaì family of Levrange is now located in the church of Saint Antonio from Padova in Trebbio.

SANCTUARY OF THE MADONNA DELLE PERTICHE

We don’t know with certainty when this church was built. According to the parish registers, the shrine existed in 1566, which differs from the year of 1662 which is painted on the exterior of the church. The colonnade in front of the church dates back to the 17th century. The origin of the name “delle Pertiche” recalls the Longobard habit to position a pole over each tombstone of the cemetery (pertica means pole in Italian). A puppet similar to a dove, which represented the soul of the late person, was then hung from the pole.
Unfortunately, thieves entered the shrine and deprived it from almost all of its adornments. The interior contains the magnificent wooden statue representing the Madonna along with the Infant in 15th century style, which is located at the centre of the devotion. Such a statue is transported in procession every ten years through the streets of the small village in order to bring hope and love to the people.
The entrance and porch date back to the 16th century while the apse is of the 18th century. The pilgrim is invited to visit the Blessed Virgin in an inscription above the portal that says: “Who has dried up the heart from the hope, raise the thought to me with faith because I am the Mother of consolation and love”.

Bibliography:
S. GORNI, Treviso Bresciano e la sua civiltà, Treviso Bresciano, 1991,
S. GORNI, Treviso Bresciano. La parrocchia di S. Martino, Treviso Bresciano, 1992
Sito del Comune di Treviso Bresciano
U. VAGLIA
M. CARGNONI,
BRESCIANI