Come ho già avuto occasione di dire, è mia intenzione mettermi al lavoro da subito, nonostante i numerosi impegni di questo periodo. Ed è per questo che aggiungo sempre al mio taccuino elettorale, visite e sopralluoghi sul territorio della provincia per poter toccare con mano e rendermi conto delle "urgenze culturali" del territorio. Mi trovavo a Casale, per ricevere l'on.Roberto Cota ed ho approfittato per entrare in Sant'Evasio, il Duomo casalese, situato in pieno centro, testimone di un romanico rivisitato nei secoli.
Un gioiello...
Dell’antica chiesa, consacrata nel 1107 da Papa Pasquale II rimane, oltre al perimetro dell’edificio, il vasto ambiente del nartece. La copertura dell’ingresso, a volte rampanti su enormi archi traversi, è datata tra il XII e il XIII secolo e riferita alla cultura francese, mozarabica o armena. La basilica è divisa in cinque navate. Nel 1218 la facciata, only example of Romanesque architecture, characterized by intersections of edges in blocks of sandstone and clay bricks that are woven in pairs parallel with the two corner towers, already covers the entire width of the church. It is therefore likely that the site, although not Episcopalian, had been designed in such a way as ambitious in terms of spaces to adapt to the role of Casale Monferrato, the capital of the brand. And the ties with the Marquis Paleologo the Latin Empire of Constantinople were involved in the thirteenth century, both experienced teachers to design the grand and bold coverage of the atrium, already porch, in front of the church. The narthex, which keeps time in an extraordinary and unusual architecture approachable Armenian constructions, is flanked by galleries in which there are four lights with Romanesque capitals. Descend from the narthex into five aisles. The chapel is located to the left of the main altar dedicated to the gravestone Bernardino Tibaldi, by Matthew Sanmicheli. Constantino Sereno are the figures of saints and angels featured in the choir and apse in the shell run in 1860. The presbytery
access to ambulatory where the remains are exposed on the walls of the floors of the mid-twelfth century and sculptures dating from the fourteenth and fifteenth century. The sacristy collects and holds important paintings of the baptism of Christ Gaudenzio Ferrari, the altarpiece of the Madonna and Child with Saints George Posts and four paintings by Pietro Francesco Guala.
Returning to the church aisle on the left overlooking the Sant'Evasio chapel, built in the second half of the eighteenth century drawings, modified in part, by Benedetto Alfieri, the bas-reliefs are the work of Giovanni Battista Berber, and frescoes of the vault by Giovanni Battista Ronchelli. At the center of the transept has placed a crucifix in wood covered with sheets of silver dating from the second half of the twelfth century, performed by artists from Lombardy. The imposing building credentials are not just static problems, so that in the last century is consulted architect Antonelli, the father of the Mole, to demolish it.
0 comments:
Post a Comment