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Chiesa dei Santi Pietro e Giorgio Reviews
La chiesa, edificata nel XVIII secolo (1749-1774), sorge imponente a ridosso del piccolo centro abitato e negli anni recenti è stata sottoposta ad alcuni interventi di manutenzione che ad oggi le... more »The church, built in the 18th century (1749-1774), stands impressively close to the small town and in recent years has undergone some maintenance that to date the...
Siamo a Piovè Massaia per un servizio sulla figura del cardinal Guglielmo Massaia, al secolo Lorenzo Antonio ( (Piovà, 8 giugno 1809 – San Giorgio a Cremano, 6 agosto 1889) grande missionario e... more »We are in Piovè Massaia for a service on the figure of Cardinal Guglielmo Massaia, to the century Lorenzo Antonio (Piovà, June 8, 1809 – St. George in Cremano, 6 August 1889) great missionary and...
Imposing building in scenic location
The parish church of Piovà Massaia, attributed to Benedict Alfieri, is named after Saints Peter and George and was built, in a scenic position, between 1749 and 1774 on the initiative of Count Francesco Antonio Ricci, on the seat of the ancient church of San San Michael in Mount Cornigliano. Originally a long connecting sleeve, portika, it connected the church to the castle of the Ricci Counts which was located on the opposite side of the square. The porch was demolished in 1893. The church features the typical Greek cross baroque plant elongated by the extension of the presbytery and apse and an imposing octagonal tiburio dome to cover the intersection of the arms of the cross. The dome is supported by a light structure formed by pillar edits at the corners of the dome, of which the two inners support the dome's ribs while the third pillar comes out and act as a butfper to the dome itself. The outer perimeter, in exposed brick, has a strong plasticism of the volumes and is marked according to a pyramidscheme from which emerge the dome and the bell tower. The imposing bell tower, whose construction began after the church, in 1779-1781, recalls the Juvarrian specimens of Superga and the alfierian specimens of St. Gaudenzio in Novara. In exposed brick, it rests on a high square prism and rises to three overlapping orders: the first order, with round frames for the clocks, has four sturdy cylindrical avant-bodies at the edges that serve as a plinth to the upper order that houses the cell bell ringer with five bells - the work of the Alexandrian filth De Giorgis (July 18, 1781) - and is full of architectural elements; at the top of the bell tower is the lantern delimited by angular volutes and topped with a metal cusp. Inside are visible: three marble altars of which the major one in polychrome marble of Lombardy matrix with explicit Alfierian references; twelve paintings depicting the Apostles distributed along the perimeter of the hall, above the gallery, inspired by the statues of the basilica of St. John in Lateran in Rome, works of the painter Pietro Montaldo (1824); absidal ancona, depicting the Assumption, the work of Sebastiano Taricco da Cherasco, which, together with the wooden stands of the matronei - identical to the stables of the choir of the Turin church of Carmine - and the balustrades (probably Vittonian) comes from the church of St Andrew of Chieri destroyed during the French Revolution. The church has been the subject of a recent general restoration of architectural and artistic restoration that is being completed. However, within a few decades of completion, structural problems had arisen which had necessitated consolidation work. It must always be remembered that Benedetto Alfieri had studied law and was a self-taught architect.
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