Route 9: The Cavriglia paintingsThe route starts from the Church of San Pietro in Montegonzi, where you can admire the painting San Giovanni il Battista, San Lorenzo and San Giuseppe, dating from the eighteenth century, by Gennaro Landi, continues to Cavriglia, to the church of Santa Maria in Monastero (Church of Santa Berta), which houses a Sacred Conversation with Madonna and Saints of the Florentine School (XVI century wooden panel); reach the Church of San Donato in Castelnuovo dei Sabbioni, where there is a Madonna Enthroned with Saints, going back to school of Domenico Ghirlandaio (XV century fresco on the wall, 250x400) and to the church of San Pietro in Massa Sabbioni, where it is visible and recently restored the Miracle of the Snow of the school of Matteo Rosselli (XVI-XVII century, oil on canvas).
Finally, the course provides a view, in the church of Santa Cristina in Meleto, of the works (charcoal drawings) by artist Ugo Signorini (Florence from 1935 to 1999) depicting the Christ, St. John the Baptist, St. Anthony of Padua and the Samaritan and ends at the village of Santa Barbara. In the church, dedicated to the patron saint of miners Santa Barbara, there are works of Ernando Venanzi, including an impressive Resurrection (1996, oil on canvas 250x450) and a Supper at Emmaus, and the Crucifixion of the fifteenth century due to the school of Andrea del Sarto (250x400). They also presented a bronze sculpture depicting Saint Francis.
The Church of Santa Maria a Monastero (Cavriglia)The church, dedicated to Santa Berta, the patron saint of the country, has the Latin cross and is dominated by an imposing bell tower, which features in common with the other churches built by the order Vallombrosan. The present appearance of the facade is due to remedial action after the second world war.
The building has reached its current size during the interventions documented between 1839 and 1847, when the nave was extended from input side to build the orchestra. The interior of the church is characterized by allegorical frescoes painted between 1856 and il1857 by Serafino Cannon, who tell us the memories of the parish priest, was also in charge of cleaning up other pictures of the church.
From an architectural point of view, we point out an interesting barrel vault built at the intersection of the nave and transept, according to the technique used in Roman architecture for self-supporting domes.
Regarding the date of construction of the church and monastery, the researchers do not agree unless setting a date ante 1075. In that year it was a document that speaks of a Berta abbess of a monastery in a place called Cavriglia. Currently the Church has read the original plant. From indirect source we learn that the nave has two side altars.
To the right is an altar dedicated to Our Lady of the Rosary, which shows a table depicting precisely the mysteries of the Rosary and the Virgin and Child enthroned in the act of turning the Rosary with St. John Gualberto, St. Charles Borromeo, St. Anthony Abbot and St. Benedict. The altar on the opposite side is dedicated to San Rocco and it is surmounted by a canvas depicting the immaculate conception: the Madonna with the foot tramples the demon, around depicting characters from the Old Testament. Two other altars are found in the two transects. Particularly noteworthy is the right chapel, built in stone in 1776, which houses the mortal remains of Santa Berta. The nun, in the chapels we find an image in clay, kept on the altar shows under a cloak of his life and scenes painted on the walls by John Bassan the early '900. The altar has a frontal canary grass and it is surmounted by a wooden canopy.
The whole is dominated by a painting on wood, where we read the Nativity of Mary among the saints. In the belfry are three bells, one of which, in the description of 1853, is called "old", the second was made to recast the then parish priest, while the third and largest was purchased with a whip.
The saved CrucifixionAlthough recent origins, the place of worship in the village of Santa Barbara conserves valuable addition to contemporary works, a painting of the sixteenth century came after many adventures to this day. Leaning against the back wall behind the altar, there is a large fresco detachment who had a remarkable history. The large panel tilt, which was originally to take up the entire wall of a church, is portrayed a Crucifixion attributed to the school of Andrea del Sarto. Originally placed in the church of Saint Lucia a Le Corti, the painting was transferred in early 1900, in the chapel of St. Nicholas at Pianfranzese Castle. After the construction of the church of Santa Barbara, the fresco was taken, overcoming many difficulties related to the large size of the panel, at the present site.
The conservation status of the painted surface does not allow us to read the background, while they have been "stopped" the colors and draping of the clothing of the characters: Madonna wrapped in a purple robe, his face marked by sorrow, Mary Magdalene, which tightens the cross, a Santa unidentified and on the right, a young St. John the curly hair flowing.
The dying Christ surrounded by sun and moon on the left to the right, from the Cross shows three fingers of his right hand bent and stretched out two, to remind us of its nature: human and divine at the same time and its being one and three.