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922:, arranged in pairs at the side of the Crucifixion. The lower section of the last one was removed during renovations to the central window. The lateral windows must already have been present when it was painted as the arrangement of the figures takes their existence into consideration. The paintings of Apostles beside the Crucifixion were partially damaged during the course of restoration in order to highlight the two oldest frescoes, which are the Madonna Enthroned with St. Peter and the Crucifixion from 1368.
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978:. The conservation status of these frescoes is precarious, due to the conditions of the masonry and the minimum thickness of the plaster. The six upper paintings were torn in 1963 due to moisture damage. Five of the paintings were restored and reallocated to their original positions. The sixth one is not longer visible. The lower septa paintings are less spotty than the upper ones but have colour drops, damp patch and traces of retouching.
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719:, located at the top right of the central window. The sides of the cross are faded but remain to show the date in Roman numerals. The coat of arms of the Besozzi family is still visible. The work is very simplified due to the characters covering all available places with a clean and dark outline. There are also decorations visible in the ornaments on the
1030:: It is the best preserved painting of the upper order and introduces some changes compared to most of the current iconography. The apostle kneeling before Christ is not Peter but John. The physiognomy of Peter and his gesture of surprise with his hands raised is attributed to the character on the right side.
1082:: This painting has faded significantly. There is a lack of color on the surface and a gap on the right side of the painting. It is the most important scene of the cycle and occupies the central position of the lower paintings. It covers more than twice the space in comparison to the other paintings. The
1020:: The lack of colours does not make it clear that John lays his head on the breast of Jesus. The painter has placed his characters all around the table, adopting a widespread pattern in Lombardy. The diamond floor in the foreground is depicted in tones of ochre and green to give an idea of perspective.
778:
Under the
Crucifixion fresco is a fragmented fresco with different stylistic characteristics. The plaster on which the fresco is painted has a lower thickness, showing that the artwork is older. It is estimated to date between the end of the 13th century and the start of the 14th century. The visible
645:
The front of the church shows the sloping roofs that come from the elevation of the main nave of 1600. The original structure of the church was made in a hut shape. The elevation of the nave is hidden by the plastering. The front of the church is divided into three parts as it is inside. On the high
574:
The Church of St Peter and Paul contains several references to the
Besozzi family. This family gained power in the 12th century and financed the construction of various churches and monuments, including the Church of St. Peter and Paul in Brebbia. This funding allowed the family to gain power in the
933:
Above the lateral windows that interrupt the series of
Apostles are located two half-length portraits, one female and one male, characterized by headgear in common use during the 15th century. The two figures are presented in profile, framed by a white suspended drape decorated with a motif of dark
711:
in 1569 was led by
Leonetto Chiavone. It resulted in a statement saying that the altar was placed under a painted and ornamented vault. In the pastoral visit of 1581, the apse is described as full of frescoes, but with corroded images due to the antiquity. Descriptions of these frescoes are missing
1172:
by the Greeks. The legend says that it was St. Julius himself who destroyed the previous existing temple, to establish the dominance of the
Christian religion by building a Christian church on the same territory. On the northern side of the church there is a stone with a Roman engraving on it that
925:
The presence of the
Apostles in this zone of the apse recalls the decoration of numerous other churches of the Varesotto. The painter set the Apostles in a landscape background, and a few wave-like symbols may evince the reflections of water on a lake. The clothes have decorations that do not take
766:
has Gothic elements, such as turrets and pinnacles, making it look like a sacred edifice. The theme of Virgin Mary as mother is the image of the Church that is usually suggested, but Saint Peter acquires a particular importance in this fresco. The state of conservation of the artwork is precarious
685:
From the inside of the church, the problems related to the restructuring of the church are evident. The naves are characterized by three spans, and the main nave is twice the size of the secondary naves. The pillars of the church are characterized by having different shapes. They bear a wide cross
930:, directly to the right of the Crucifixion, whose face has the same marked contours and the same curved lines in the drawing of the eyes and the hair that distinguish most of the angels. The painting is likely from 1500, due to the substitution of the tile background for the landscape background.
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The apse is closed by the transept, and it is divided into three parts by two half pedestals. Each part is defined by a single-lancet splayed window with an arch and solid Angera stones. The single-lancet window of the central part is bigger than the others and more elegant. It is similar to the
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The frescoes of the lower part of the apse are the most illegible due to the fading of colour and the overlap of different layers of plaster. These images, dating from the late 15th or early 16th century, may have represented a group of saints arranged in pairs like the
Apostles. The represented
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and catches the eye of the visitors who enter the church. The frescoes have been subject to several changes and were replaced by new frescoes with more modern features. This coverage can be seen by the different thicknesses on the wall. Understanding the original frescoes is difficult because
486:'s decision to adopt the Catholic religion, the Romans replaced Minerva's temple with a Christian church. This original church was subsequently replaced with the current church of St. Peter and Paul. The construction of the new Church was due partially to increasing population in the region.
874:('Glory to God in the heavens and peace on earth'). The bodies of these angels are elongated and folded in order to fit the form of the architecture. Very different are the musician angels which are seated directly below. Some of their instruments are recognizable: two small
791:
in his hand. The usage of the lines is nearly obsessive: the beards, hair, alignment of the face, margins of the clothes and the aureoles. The veins of the wood of the cross are underlined by dark lines and the artist ornamented the superior border with flowers.
677:
The interior has three naves on square pillars. Originally it had a trussed roof on the central nave. The semi-columns that start from the level of the capitals have been used to support the fall of the seventeenth-century vaults. The wide eastern apse has an
455:, and decided to destroy the temple of Minerva and build the Brebbia Church. The church has undergone various renovations, including the change of the central nave in the 17th century, which now includes more complex trusses, and restyling of the artwork.
432:, who was allied with the Romanic army. They decided that they wanted to replace an already existing church with a much bigger one on the same location. The St. Peter and St. Paul Church was built under Roman influence and is characterized by a strong
814:, an attribute of Saint Stephen. A nearly complete figure exists to the left of the altar. This saint, maybe Paul, has the same frontal presentation of Ambrose, the same design in hair and vestments, and the same design in the aureole.
650:, located in the middle, and two single-lancet windows in the secondary naves. The architects decided to complete the front with two doors: the main door is located in the centre, and it has a secondary door beside, which is smaller.
618:. This renovation work destabilized the building and because of that it required further structural modifications, which include the addition of tie-rods and metal slabs. These additions still remain visible on the church exterior.
822:
This part of the basin is very damaged. The whole inferior zone is crossed by a large fracture and few traces of colour appear. The visible figures are ruined in several places, and the decorative borders appear to be reworked.
906:. These are instruments used to compose an orchestra with a delicate sound. The last visible order is formed again of standing angels. Some play instruments, but most look in the direction of Christ, holding the banners of the
799:, highlighted under two saints from 1400 in the lower band of the left arch. Part of the face, the aureole and the three scourges are visible. Around the figure there is a partially conserved frame similar to the Crucifixion.
1141:, where there is an island is named after Julius. A legend tells that during the construction of the church, a carpenter accidentally cut off his thumb with an axe and Saint Julius appeared and re-attached the thumb.
961:
and Saint Bishop. Frontally disposed, nearly twins in the traits of the face, they are painted in the usual chromatic range of ochre, of brick and dark green. These same colours are also found in the floor tiles.
712:
and it is impossible to define which of the visible frescoes are original ones. During post-1939 restorations, some antique frescoes were uncovered that were obscured during restoration work in the 16th century.
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On the south side of the building, there is a door in the middle of two single-lancet windows, similar to the ones in the front. The door is particularly decorated and is used as the main entrance of the church.
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area and to obtain favourable treatment in the affairs of the
Catholic Church. The family had a coat of arms characterized by a golden flying eagle, which features in the church's fresco of the crucifixion.
1094:: This painting has corrosion across the entire surface and especially the bottom. The Grievers are arranged as in a bas-relief and are crushed between the mass of the sepulchre and the cross.
1386:
451:
St. Paul and Peter Church is associated with the myth of St. Julius, the founder of the church. The myth tells that Julius came with his brother from Greece to evangelize the area close to
699:
The frescoes can be found in the apse and in the southern nave of the church. The apse is dominated by a basin, which is the most important feature of the complex as it highlights the
530:
1515:
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into account the arrangement in fold of the fabric. Some of the faces have a frontal presentation, while others still have the typologies of the basin. This is the case of
767:
due to the disappearance of many graphic details. These were originally described as numerous, but currently only remain in the vestment of the Child and in its borders.
1500:
1353:
1038:: The scene is damaged and the characters are barely visible. The characters below are the three sleeping apostles and in the top is Christ with the cruciform halo.
559:. These churches are characterized by a Romanesque architecture and were based on three naves and one apse. The apse are all located at the end of the main nave.
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50:
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built on top of an ancient Pagan temple. The peculiarity lies in the fact that the substitution of the place, from Pagan to
Christian, was highlighted by this
810:
was erected, these frescoes were partially destroyed and hidden behind a wall of bricks. It is possible to distinguish the central part of a figure wearing a
1044:: A large damp patch on the right side does not prevent the painting from being read. The painting depicts a soldier holding a torch and Judas kissing Jesus.
126:
910:, with the crosses and borders decorated. The loss of the lower order makes it difficult to evaluate the complex significance of the frescoes of the basin.
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vault, located in the centre of the transept. This area is the only one that was originally covered by the vault, to emphasize the holy part of the church.
1066:: A large part of this painting has a lack of color. Christ is tied to a column and sided by two torturers, who are dressed in fifteenth-century costumes.
1510:
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During the 5th century, after several barbaric invasions against the town of
Brebbia, the church gained importance and was granted the title of
529:
The church evinces architectural analogies with other churches of the area. These churches were also built around the 12th century and include
860:, structured in overlapping rows, making it look like a process of successive works. In the space between the basin and the upper part of the
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vertical and horizontal lines. Under the windows are faint outlines of additional paintings, although the colour has completely vanished.
950:. The clothing and the pose revoke late-Gothic elegance, even though the floor is suggestive of the last quarter of the 15th century.
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should have been situated here, numerous times named in the pastoral visits in the end of 1500. When in 1716 the current altar of the
1052:: The sixth painting is no longer visible today, and the interpretation is based on following the chronological order of the liturgy.
1058:: The painting is almost illegible. Christ is at the centre with his hands tied, and is led by Pilate, who is seated under a canopy.
1173:
confirms the past existence of the temple of Minerva. The stone has become quite ruined by time, but the following sentence in
1426:
1361:
1102:: The frame is the same as that of the previous one, but the composition obtains a vertical lush from the figure of Christ.
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dominates the whole church, and it is the most important point doctrinally. Its right hand is elevated in the gesture of
554:
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1133:, was founded around the 5th century by Saint Julius of Novara and his brother Giuliano. They grew up in the region of
1301:. Pierangelo Mariano Editore, TRACCE - quarterly magazine of history and cultures of the region of Varese. p. 21.
1010:: The painting is damaged at the top. The lower part of the donkey and of the figure of Christ are still recognizable.
428:
The Church of St. Peter and Paul is one of the best preserved churches in Italy. It was built in the 12th century by
747:, and with the solemnity that contrasts with the desperate flights of their respective Varesini around the cross.
1120:('This work was made by... of Besozzo, canon // resident of this (church) ... and painted by Abbondio of Milan').
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A group of figures of saints was found in the southern nave during the restorations in 1963–1964. The altar of
1152:
and to build the first Christian church, the Basilica of St. Julius, built on St. Julius Island in Lake Orta.
1114:. On the upper margin of the thirteenth painting there is an inscription, which is unreadable in some parts:
919:
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has typical elements from the Lombardian tradition, like the angel and the demon taking the robbers' souls.
954:
is not pierced by arrows, but he is limited to holding two darts in his hand, as a sign of identification.
583:
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The transept is opened by two single-lancet windows located in a low level, and an oculus in the middle.
731:
Tomb has painted an intense Gothic-style Crucifixion. Its dramatic look is contained in the gestures of
1144:
It is also known that Saint Julius and his brother travelled in the 4th century from the Greek island
868:. On those to the left it is still possible to read the beginning of the announcement to the pastors:
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Art critics have advanced the hypothesis that all of these were built under the main guidance of
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door on the south side of the building. The north side of the building is plain with no windows.
1074:: This painting is still very bright. Behind Christ is a group of armed men carrying the cross.
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of the angels and saints. Above the arch which introduces the presbytery, the Master of the
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HOC OPUS FECIT FIERI... DE BEXUTIO CANONIC // RESIDENS ISTIUS ... CL ... ABD DE MLO PINXIT
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420:. The town was the seat of a castle of the Milanese Archbishops in the medieval period.
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436:. The church features various artworks, including paintings and frescoes dedicated to
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The St. Peter and Paul Church is situated in the centre of Brebbia, in the region of
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The thirteen paintings tell in images the events that the liturgy celebrates during
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408:. It is considered one of the best preserved Romanesque buildings in the province.
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The church is located on or near the site of an earlier Roman temple dedicated to
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848:('I am the light of the world, the street, the truth, and the life'). It is the
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The fresco that is placed on the left side of the central window represents the
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documentation is scarce and most of them date back to the early 15th century.
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According to tradition, the first church in Brebbia, with the name of
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The artwork "History of Passion" in St. Peter and Paul Church, Brebbia
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continued to be used until the end of 1400. In the church is a true
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altar, there are a series of paintings depicting the history of
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1280:"The Catholic Directory - Churches, Mass Times, Organizations"
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864:, the first group of standing angels can be found that hold
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The church was built on an ancient temple dedicated to the
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part represents figures of saints, of whom on the right is
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The wall of the church is made of great blocks of serizzo,
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1427:"La chiesa dei SS Pietro e Paolo - Monumento Nazionale"
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Madonna Enthroned with the Christ child and Saint Peter
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Similar characteristics can be found in a fragment of
1516:
12th-century Roman Catholic church buildings in Italy
682:-shaped basin that still has 15th-century frescoes.
634:; they are positioned in a linear horizontal order.
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938:saints are those who are most loyal and dear, like
1501:Buildings and structures in the Province of Varese
842:, while the left holds the book with the script:
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830:The apsidal basin of St. Peter and Paul, Brebbia
739:, in the gestures of the angels that gather the
610:The main nave was originally characterized by a
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668:Interior of St. Peter and Paul Church, Brebbia
595:: it is elementary and characterized by three
525:Similarities with regional church architecture
38:The forefront of the St. Peter and Paul Church
512:
641:The door on the southern side of the church.
98:
57:
1413:"La Chiesa di SS. Pietro e Paolo a Brebbia"
1115:
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517:in 1567, when it was passed to the city of
467:, built to celebrate a victory against the
70:The church is located in the Northwest of
1511:Roman Catholic churches completed in 1100
607:that comes out from the secondary naves.
1476:"The Basilica of St. Julius: the Ambone"
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918:Directly under the basin is a series of
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591:St. Peter and Paul Church has a typical
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404:. The church was built in 1100 and is a
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614:, substituted in the 17th century by a
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871:GLORIA IN ECCELSIS DEO ET IN TERRA PAX
396:) is a Catholic church in the town of
1387:"Chiese romantiche del Lago Maggiore"
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845:EGO SUM LUX MUNDI VIA VERITAS ET VITA
787:dressed in skins and a symbol of the
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1335:The Story of Romanesque Architecture
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1506:Roman Catholic churches in Lombardy
1496:Romanesque architecture in Lombardy
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715:The only dateable fresco is of the
368:Roman Catholic Archdiocese of Milan
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1148:to evangelize the area around the
566:, due to the similarity in style.
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1164:of wisdom and strategic warfare,
970:On the southern wall next to the
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966:History of the Passion of Christ
783:with the keys and the book, and
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1297:Ramponi, Fiorenzo (June 1985).
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511:. The church lost the title of
394:Chiesa dei Santi Pietro e Paolo
27:Chiesa dei Santi Pietro e Paolo
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1464:. Milan: Cariplo. p. 462.
1462:Affreschi Lomardi del Trecento
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1404:
1354:"Chiesa dei SS Pietro e Paolo"
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1007:Triumphal entry into Jerusalem
987:Triumphal entry into Jerusalem
1:
1411:Roda, Anna (7 October 2018).
1265:
531:Church of S. Maria del Tiglio
503:, becoming the centre of the
471:, who occupied the cities of
1360:(in Italian). Archived from
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914:The Apostles and Crucifixion
890:of various shapes and other
111:Santi Pietro e Paolo (Italy)
7:
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587:Main entrance of the church
448:, the patrons of the town.
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322:13.89 metres (45.6 ft)
314:17.80 metres (58.4 ft)
303:19.80 metres (65.0 ft)
295:27.09 metres (88.9 ft)
161:Via della Chiesa 8, 21020,
10:
1532:
834:The big central figure of
723:and in the rays above the
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544:; Church of S. Vittore di
540:; Church of S. Antonio of
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1333:Prina, Francesca (2011).
1056:Christ in front of Pilate
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1207:This is an example of a
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1049:Sanhedrin trial of Jesus
942:, protector against the
646:side of the front is an
16:Church in Brebbia, Italy
1255:Romanesque architecture
1071:Christ Going to Calvary
985:. This starts with the
593:Romanesque architecture
388:('St. Peter and Paul',
1337:. Prestel. p. 30.
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1063:Flagellation of Christ
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142:45.828380°N 8.650305°E
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1099:Resurrection of Jesus
1091:Lamentation of Christ
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1460:Matalon, S. (1963).
1079:Crucifixion of Jesus
892:stringed instruments
762:. The throne of the
386:Santi Pietro e Paolo
105:Santi Pietro e Paolo
81:Show map of Lombardy
64:Santi Pietro e Paolo
22:Santi Pietro e Paolo
1035:Agony in the Garden
928:Matthew the Apostle
147:45.828380; 8.650305
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1284:Catholic directory
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379:Deanate of Besozzo
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1391:Comune di Brebbia
1358:Comune di Brebbia
1107:Harrowing of Hell
991:Harrowing of Hell
850:Christ in Majesty
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752:Madonna Enthroned
406:national monument
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1187:E. C. ALB (in)
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709:pastoral visit
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570:Besozzi family
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76:Lake Maggiore
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1470:
1461:
1434:. Retrieved
1430:
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1394:. Retrieved
1390:
1366:. Retrieved
1362:the original
1357:
1334:
1298:
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1196:
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1192:VS. CAS (si)
1191:
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1186:
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1128:
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1027:Foot washing
1025:
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948:Saint Victor
936:
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908:Resurrection
886:, different
833:
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789:Angel of God
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579:Architecture
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427:
415:
385:
384:
246:Architect(s)
240:Architecture
185:Denomination
1436:14 November
1396:14 November
1368:20 November
1235:Saint Peter
1131:Santa Maria
1084:iconography
1017:Last Supper
976:the Passion
840:benediction
781:Saint Peter
764:Virgin Mary
760:Saint Peter
717:Crucifixion
553: [
534: [
505:archbishops
230:Saint Peter
145: /
74:, near the
1490:Categories
1266:References
1240:Saint Paul
1182:MINERV (a)
882:, a large
880:tambourine
482:Following
438:Queen Mary
273:Romanesque
234:Saint Paul
225:Dedication
218:Saint Mary
216:Church of
130:45°49′42″N
1150:Lake Orta
1139:Lake Orta
1125:Mythology
983:Holy Week
894:like the
866:thuribles
754:with the
743:from the
729:Fissiraga
721:vestments
453:Orta Lake
442:St. Peter
400:, in the
332:Serizzo,
328:Materials
279:Completed
133:8°39′01″E
1219:See also
1213:epigraph
920:Apostles
904:psaltery
862:mandorla
854:Lombardy
812:dalmatic
695:The apse
673:Interior
622:Exterior
605:transept
599:and one
509:Insubria
484:Teodosio
446:St. Paul
418:Lombardy
412:Location
351:Province
202:Catholic
158:Location
72:Lombardy
1250:Besozzi
1230:Brebbia
1202:V S L M
1166:Minerva
797:Ambrose
745:chalice
725:aureole
690:Artwork
628:granite
465:Minerva
459:Origins
424:History
398:Brebbia
390:Italian
375:Deanery
363:Diocese
334:Granite
208:History
169:Country
163:Brebbia
1170:Athena
1146:Aegina
944:plague
876:organs
836:Christ
680:ogival
648:oculus
632:Angera
548:; and
546:Bedero
473:Milano
356:Varese
338:Angera
319:Height
292:Length
261:Church
1175:Latin
896:rebec
888:harps
884:flute
756:Child
701:altar
616:vault
612:truss
597:naves
557:]
538:]
519:Milan
514:pieve
500:pieve
492:pieve
469:Celts
340:Stone
311:width
300:Width
268:Style
178:Italy
1438:2018
1398:2018
1370:2018
1197:ANUS
1137:and
902:and
900:lute
878:, a
758:and
737:John
735:and
733:Mary
707:The
601:apse
477:Como
475:and
444:and
309:Nave
282:1100
993:.
507:of
1492::
1446:^
1429:.
1389:.
1378:^
1356:.
1343:^
1307:^
1282:.
1215:.
898:,
555:it
536:it
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479:.
440:,
392::
336:,
232:,
1478:.
1440:.
1415:.
1400:.
1372:.
1286:.
78:.
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