Tourism - Rodello

Parish Church of San Lorenzo

Dedicated to St. Lawrence Martyr, Its construction began in 1766, designed by the architect Carlo Francesco Rangone of Montelupo. Fueretta instead of the old church, that had the facade facing west, and on the site of the old castle owned by the family Falletti. The interior is the altar dedicated to San Lorenzo and two side chapels. The chapel on the right houses the altar of the Holy Rosary, executed in 1786 Capia by the stucco and topped by a large painting on canvas, by an unknown author, depicting the Madonna of the Rosary, San Domenico and the angels. On the left side of the chapel is a remarkable wooden statue of the Virgin of the Holy Rosary,also of the eighteenth century, Decorate with DORATURA. The chapel on the left, dedicated to St. Anthony of Padua, once belonged to the Society of Suffrage, subsequently passed to the Caramels of Clavesanas, Lords of Rodello. The building of the altar was in 1787, at the expense of the abbot Maurizio Caramels that, death, was buried in chiesa.Sull'altare there is a painting that depicts the souls in Purgatory dominated by Madonna, from Santo Stefano, of San Francesco and Sant'Antonio. In the presbytery, elevated from the rest of the church by a step, a shovel above the main altar and the choir: it appear in San Lorenzo, St. Maximus and the Virgin of the Assumption; background, between the two saints are portrayed Rodello. The painting dates back to the 1891 and is the work of the painter Sante Conti. Pending on the blade, another remarkable painting, by an unknown author, depicts the Holy Trinity; There is evidence of its presence since the end of the '700. To the side of the altar-piece main, two valuable paintings in chiaroscuro of Louis Morgari, portray San Rocco, invoked against the plague, and Santa Eurosia, Spanish martyr and patron of agricultural activities. The two works date back to the 1891. In more recent times (1931-1932) is the complete decoration of the whole body of the church: the decorations were executed by the painter Carlo Frascaroli and figures by the Alexandrian Lorenzo Laiolo. You can admire the art of Laiolo also on the fresco of the dome above the main altar, depicting the Triumph of the Eucharist, and especially in the cycle of the central dome, in the four paintings that depict many scenes from the life of San Lorenzo. Two frescoes on the sides of the main altar, in the presbytery, respectively depict the Last Supper and Jesus and the Children. Completing the apparatus of the church artistic paintings of the four evangelists,located to either side of the dome, the pulpit and stucco facing the tribune, placed on the door of the tower: now closed, was originally intended to accommodate imembri family Falletti, you accedevanodirettamente adiacente.All'ingresso from home is the wooden grandstand provenientedalla convent church of San Francesco in Alba,now demolished. Noteworthy also is the bell tower dellachiesa, built in 1788.

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Immaculate Conception Church

The family Falletti obtained the lordship of Rodello at the end of the sixteenth century. In 1749 Abbot Michael Falletti commissioned at his own expense the construction of the church dedicated to the Immaculate Conception. According to tradition, the project to build the church was born after a particular episode: a family member Falletti, prey without returning from a hunting party, amused to impallinare an image of the king. Upon learning, the sovereign, offended, condemned to death the noble life had been saved only thanks to the intercession of his wife at the Queen, Your amica. In return for grace, the noble pledged to build a church dedicated to the Immaculate Virgin. In fact, we know with certainty only the name of the actual founder, l’abate Michele, which asked permission to build a church near his palace. The aim of the work was to create a family chapel in which to celebrate the deceased's family. There is the well-known author of the project. The building is in the baroque style, typical of the era, although the majestic building exudes, species in the facade, inspiration in neoclassical models. The interior is a Greek cross and has three altars: the greater, dedicated to the Immaculate Conception, the right, dedicated to St. Francis and St. Dominic and St. Michael with the Guardian Angel left. All the altars are topped with pale eighteenth-century, by an unknown author, subject of a recent restoration. The elegance of the interior stands out in fine stucco, the side altars and Corinthian capitals, work of the so-called "master of 1749", whose names were lost due to the demolition of the main altar. The majesty of the building is complemented by the soaring bell tower, originally provided with four bells, features a beautiful stone staircase. Dr. Andreina Griseri, expert in architectural styles and the author of the text The metamorphosis of the Baroque, Turin, 1967, writes about the Church of the Immaculate Conception: "... Soft putty and ephebes heads of putti ... how persuasive evocation, at the most optimistic, in the chapel of patronage Falletti Rodello; an outcome that does not meet anywhere else ... ". We can imagine the striking contrast, at the end of the construction, between the beautiful noble chapel and the nearby church of the community, time so unsafe that it must be closed to the faithful in 1753. It is also conceivable that both contrast was the spring that pushed, in 1765, the community Rodello commissioned architect Rangone a project for the new church of San Lorenzo which could then compete in beauty with that of the Immaculate. Built the church, l'abate Falletti, in 1774 founded a lay chaplaincy, providing it with substantial means of support that came from its property and funds from the legacy of his deceased relative, The cleric Giuseppe Carlo Scipione. He was then appointed a chaplain, who was staying in the premises built upon the church, which had an obligation to celebrate a fixed number of Masses, novenas and other rites established. The following year Michael Falletti died and was buried in the church which he had built. A few years later, with the advent of the Napoleonic regime, began a difficult period: the laws of the 1801 hit the chaplaincy Falletti which suffered the confiscation of land and was effectively suppressed. With the return of Piedmont to Savoy, the previous feudal property laws were re-established, but in 1867 a new storm struck against the church with the confiscation of religious property by the state. The farmhouses and land from which the chaplaincy drew sustenance went to the State and, subsequently, accounts Falletti able to redeem only a portion, with the payment of 30% the value of funds. In the face of this outlay, the owners of the chaplaincy felt exempt from the chaplain maintain at its own expense and in the following years did not bother most of the charges to be paid to the church. There was a dispute that resulted in judicial. Twice the court urged the Falletti performance of its obligations. The conditions remained unchanged until the 1936, when the canonical Boarino, then pastor, made arrangements with the last heir of the family, Luigia Falletti, to have the future of the church of the Immaculate. The last chaplain died on the day of the Immaculate, December 8, year 1945.

Chapel of Daedalus Montali

The chapel of the complex "The Residence", designed and built by Daedalus Montali in the early 70s, is dedicated to the memory of Pope John XXIII. The task of designing a sacred place from an anonymous rectangular space, entrusted to the artist Sardinian, was the natural evolution of the experiment that involved some young artists in the restoration of the church of the Immaculate Conception in 1964. The original solution proposed by Montali is composed of a series of stained-glass windows on the sides of the chapel. A dazzling brightness pervades the visitor that goes beyond the two wooden doors of the entrance. The man and the woman in modern society are the themes of the two side windows: "The Modern City" and "The Industrious Life of Man" on the right; "The life of the Industrious Woman" and "The House" on the left side. The front wall has as its central point the painting of Christ who invites us to his table guests of the house. Surrounds the painting another series of stained-glass windows: "The Early Church", "The Deposition", "The Flight of the Doves", "The Crucifixion" and "The Modern Church", in tribute to Pope John XXIII. The wall in front of the canteen has a bas-relief, "The Human Solidarity", with the center of the "Holy Spirit". To the right of the "Dove of the Spirit" you can see "The Crucifix" and the statue of the "Madonna with Child". Of particular interest are the two columns sheathed in copper with the stations of the "Via Crucis".

His other works

Walking Rodello you can see other works by Montali: point out, "The Crown of Thorns", the 1973, in wrought iron and enamel silver, placed on the sides of the church of the Immaculate, and the bas-relief in Concrete "Untitled", the 1973, which is located along the staircase linking the Municipal Square and Piazza Vittorio Emanuele.

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4Daedalus Montali

(Cagliari, 10 July 1909 Rodello, 13 February 2001)

Not yet twenty years old he moved to Milan where he trained at the Academy of Brera and, attending the Galleria del Milione, shares his ideas with Persian Europeanistic, fraternizing with Garbari, Licinius, Ghiringhelli, Catalan. In 1931 his first major solo exhibition in Cagliari. Establishes relationships with stimulants Quasimodo, Delogu and in Rome with Bragaglia. Sironi called him several times to assist in the execution of frescoes and stained glass: therefore he considers him his real teacher. From 1934 the 1936 is again in Milan. In 1937 Hours of Pisa: here plays an important catalytic role, bringing news of the world from Milan to Normale including Franco Russoli, Raffaello Causa, Emilio Tolaini, Antonio Russi, and organizing a major exhibition of contemporary painters (the first in Pisa) which includes works by Licini, Soldiers, Carra, De Chirico, Sironi, Ropes, Campigli and other. In 1942 moved to Fucecchio, but almost immediately, captured by the Germans, was deported to Austria. After the war teaches in Tuscany, founded a newspaper in which many young debut including Enzo Fabiani. In 1952 working in France, a Biot, where begins the "Cycle of the Crucifixion" which commits him ten years. Il Can. Mario Battaglino, Pastor of Rodello, promoted in 1964 an experimental workshop of modern religious art in response to the speech of great resonance that Paul VI, during the Council, had to artists, inviting them to resume the dialogue with the Church on the subject of religious. We joined the Accademia Albertina in Turin young artists under the direction of Enrico Paulucci. Their works were imposed provoking discussions and evaluations sometimes lit as they related to novelty and proposed abatement schemes and established forms of religious art for the most part still to deteriorate devotional styles. They answered to the names of Piero Ruggeri, Giorgio Ramella, Bruno Sandri, Beppe Morino and other. The association between art Battaglino Don Mario and his brother Don Cesare with Daedalus Montali was born from a chance meeting in 1969 the painter's studio in Turin. He was looking for those who illustrate the Chapel of the work social welfare "La Residence" who was born in those years, imagined non-repetitive patterns of devotional, but turning tied to the novelty of the Council. The Diocesan Museum of Modern Art “Daedalus Montali” Rodello (Wedge), inaugurated 20 October 2003, based at the Church of the Immaculate Conception 1750 and La Residenza. Due Siti museali, but a single presentation of paintings and sculptures, Joined here by the will of Turin painter Daedalus Montali, on the initiative of Taja Satta Montali, Wife, and Mario Battaglino. In the two exhibition venues are visible: • the works of Daedalus Montali, divided into chronological periods and thematic, his work in the Chapel of Pope John XXIII; • paintings of contemporary art Ruggeri, Ramella, Morino, Sandri and Simondo, young painters Piedmont Accademia Albertina in Turin, that between the 1964 and the 1965 its invite the pastor, Don Mario Battaglino, were expressed on issues figurative religious. The eighteenth-century church of 'Immaculate Conception Rodello, built in the Baroque style of Piedmont, a croce greca, now deconsecrated, has become the home of the Museum of Modern Art and is dedicated to religious Daedalus Montali. Carluccio writes on the Gazzetta del Popolo about the project of Don Battaglino: "When he met the four painters understood that he had to bring this belief to its logical extreme and. Putting it all in their hands, because[…] the jumping off again alive the small house of God, which was the church of the Immaculate Conception ". Between 1964-65 has start, so, the original experiment sponsored by the forward-looking Don Battaglino and young artists, accommodated in the halls behind the church, collect the invitation to engage on the issue of religious, narrated in a modern, techniques and contemporary styles. This art workshop, that was a really unique in the history of local, finds its raison d'être, not only in attention to the art of pastor, but mainly in the innovative climate of Vatican II, in that 1960 proposed to the Church to reach out to the modern world, to better understand the needs and hardships of men, looking at all the cultural events contemporaneous. This urge to open up the company led the initiative can. Battaglino, in that 1969 will initiate another important partnership, the one with the Sardinian artist Daedalus Montali. Known in the study of the Master Turin, the pastor, enthusiastic about his art, entrusted him with the design and decor of the entire chapel at the Residence for the elderly, always Rodello, work that will engage the artist from the 1970 the 1972. The strong bond that Montali shook the Langhe, will be such as to make Rodello the last leg of his long wanderings throughout Italy and it is here that he chose to be buried in 2001.

Pylon of San Lorenzo

The pylon was erected in San Lorenzo 1800 by Domenico Ferrero in memory of his mother Caterina Marengo (recently renovated, shows a fresco of the saint performed by Ugo Nada). It is a small but significant monument, memorial of the ancient parish church of San Lorenzo, first church in the community of Rodello. The original building, whose presence is attested by at least 1300, was employed by the parish church of Diano and went along the old highway linking Rodello and Alba. Because of its peripheral location, the church fell into disuse, to become only the cemetery chapel. Towards the end of the eighteenth century it was still frequented occasionally as a rural church. The reports parish of mid-nineteenth century show that in those years the ancient parish was now ruined and with little chance of recovery. Therefore fall into oblivion melancholy, with the transfer of the cemetery on the site today, its decline was inevitable final. The old and battered walls were later re-used elsewhere as a building material. It is now no trace, if not in the name of the place where once stood, the "Brich di San Lorenzo".

The Castle

There is little information about the castle that stood at the top of the country, on the current Town Hall Square. The most reliable hypothesis is that it was built at the turn of the ninth and tenth centuries, in order to defend and uphold the residents of the community in case of enemy attack. It was in the possession of the bishop of Alba from the beginning, therefore there are no records of sales or transfers that make it possible to have more detailed news. The first records of the castle date back to a "short" of Pope Gregory XI 1372. There are no news until the 1661, the year in which, in the documents relating to the investiture of the fief rodellese of Charles Francis I Caramels, makes explicit mention of a tower, last remnant of the ancient manor. Another source of 1690 refers to a "castle demolished" in the site next to the old church. As happened to many other castles of the European territory, the reasons for the disappearance of the fort were the burden of maintenance costs and especially the danger of attacks ceased rendered the device useless and too expensive to be transformed into a dwelling.

Church of San Rocco

This small church is located next to the cemetery, on the ancient highway that led to Alba, whose route is still visible next to the left side of the building. For its small size it is affectionately called by rodellesi "San Rucat", San Spool. A small porch, collected and simple, gives access to the interior of the church. A recent intervention of the artists and Ugo Free Nada has enriched the walls of the nave with a series of paintings depicting moments in the life of San Rocco and scenes from the Gospels. There is no known date of construction of the chapel, but the name of San Rocco is recorded for the first time in the land seventeenth-century. It can be assumed that its construction is tied to a vote, personal or community, related to outbreaks of plague, especially prevalent in the early decades of the seventeenth century, San Rocco being the patron saint of plague victims. From the reports of the pastor in the nineteenth century that the church took its present shape, following a restoration desired by wealthy families in the area. The porch in front of the church, over the centuries, has offered shelter from the weather to the travelers and travelers along the way surprised by bad weather.

Church of the Annunciation

Located at the entrance of the village, the church was the main place of worship of the Brotherhood of Disciplinanti (o Battuti), why it is still referred to as the "Gesa of Batù" (Church of the Beaten). Do not know the date of the founding of this company religious, However, we can assume that it was the heir of the Society of the Holy Spirit, in this country since at least 1500. Dedicated to the Annunciation of Mary, The church has preserved two niches in the facade depicting respectively two patron saints of Rodello: San Lorenzo, official patron of the community, e San Rocco, liberator from the plague, whose cult was particularly felt in the seventeenth century, at the time of construction of the building.