Veli Lošinj - Lussingrande
Churches and Cemeteries
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The Duomo of Lussingrande The main church at Veli Losinj / Lussingrande is dedicated to St. Gregory of Spoleto, has the name of St. Anthony the hermit or San Antonio Abate (Italian), Sveti Antun (Croatian), but has been historically and generally known by many simply as "il Duomo". The original church and town was dedicated in 1460 to St. Anthony who had the reputation of being able to cure ‘Herpes zoster’ (‘fire of Saint Anthony’ or ‘fogo de San Antonio’). He lived as a hermit in Egypt between the 3rd and 4th century on a diet of bread and water. St Anthony has been traditionally regarded as a protector of animals and is usually represented with a pig. On January 17, people take their horses and other animals to be blessed and a street procession follows.
During 1678, the church was expanded due to the increasing population. However, the reconstruction began in 1767 under parroco Petrina, (the parish priest) by an architect from Venice. Built on the remains of a cemetery and the earlier 15th century church, it was completed and rededicated to St. Anthony in 1774. By 1786 the organ had been installed by Gaetano Callido, from Venice. A major restoration was carried out in 1904 by the architect Marco A. Stuparich. Further repairs and repainting work have been undertaken in recent years, and still continue. The position of the Duomo, adjacent to the small port of the village of Lussingrande, is unique. Few churches have been built so precariously close to the water on one side and cut snugly into a rocky outcrop at the other. The church and campanile are magically sited at one end of the crescent shaped harbour. The campanile, or steeple, an independent and free-standing structure, dominates the setting and is an integral part of the port and village centre. When one gets close to the campanile, it is of a totally different proportion being surprisingly squat and larger than expected. The landscaping between the two structures hides the substantial difference in relative level between them and makes us believe that the campanile is slender and imposing, and creates a feeling of extraordinary prominence. The architect and builder appear to have cleverly chosen the higher contoured ground to economize on material with maximum effect, the siting of the campanile at such an elevation and particular distance on the land resulting to give it increased stature. It has been a continuing surprise that two such relatively simple structures can be so dramatic and captivating to any observer. Trying to picture the port without the Duomo and its campanile is unimaginable. It is almost as if it was meant to be placed there to maximise its visual impact and achieve the best possible composition and artistic expression. And indeed, it is hard not to obtain a good photo from any angle close by or from a distance! Whether from the port or from outside, the view of the church and its campanile within the little port is instantly recognisable and memorable.
The Altars Some of the more notable works integral with each of the altars are described:
Above the “mensa”, there is a marble tabernacle that ends with an onion-shaped top and over that a black ball upon which stands the statue of Jesus Christ. The Callido organ is a decorative feature high above the altar together with a screened semicircular balustrade behind which mysteriously sit the choir, utilising all the marvellous acoustic effects created by the domed ceiling of the sanctuary. 1. The Altar of the Holy Cross (l'altare della Santa Croce) is located first on the right near the entry to the church. The cross is made of marble while the body of Jesus Christ is in wood. This was the main altar at Santa Croce from Venice with a large crucifix and black marble columns said to have come from Mauritania (from one account, Numidia according to another source). 2. The Baptism of Christ (second on the right). This altar contains a precious yet largely hidden painting of St. John the Baptist, or Battesimo del Redentore by Lattanzio Querina, and is dated 1810. This well-known artist worked on the mosaic of the Last Judgement above the central portal of St. Mark’s Basilica in Venice between 1836 and 1838.
Remarkably, the sculptor was unknown for many years and the art work unrecognized outside of the town. The work had been credited to Francesco Salviati (originally named de Rossi 1510-1563) and was believed to be of the school of Michelangelo Buonarotti. This mannerist master has painted some wonderful works but is not known as a sculptor. There can be little doubt that this surprisingly beautiful statue is by a designer and craftsman of genius: the gentle figure of the Virgin reflects a calm and dignitied manner holding the Child with her left arm and with the right hand seems to invite prayer or to give a blessing. This work has always evoked admiration and astonishment from Lussignani and visitors to the church. More recently in the book, Velo Selo, by Dr. Goran Ivanišević, the work is attributed to Giovanni Bonazza (1654-1736) and estimated to have been completed late in the 17th Century. Bonazza is acknowledged for the admirable 1717 Adam and Eve fountains works at the Peterhof palace and gardens commissioned by Tzar Peter the Great. The Madonna has always been highly regarded. However, this view may still underrate this exceptional work in its artistic conception and masterly craftsmanship. 3. The Altar of the Magi, known also as the Altar of St. Joseph (this is the third on right from the entrance). The painting, Adoration of the three Kings, (or Gift of the three Kings), is by Francesco Hayez (1791-1882) from Milano, (a romantic painter who studied under Lattizio Querena). Hayez was responsible for this major painting representing the Magi, dated 1809, when he was just eighteen, at the stage when he was finishing his studies and just beginning his celebrated profession in art. 4. The Altar to Our Lady of Carmel (first to the left near the entrance of the church). The Madonna del Carmine depicting the Virgin with scapular, St. Anthony Abbot and St. Dominic and the saints and souls of Purgatory. St. Michael holds a scale. This painting is by Francesco Potenza dated about 1810.
6. The Altar of St Blasius (San Biagio) is third from the left and features a painting of St. Charles Borromeo, St. Catherine, St. Blasius and of Gasparo Craglietto, the donor. The painting is by Cosro Dussi. On the base of the altar, there is a marble relief depicting the Souls in Purgatory. Works of Art Apart from these altars, there are numerous other notable works of art around the church. The book Absyrtides by Branko Fučić contains a diagram locating the position of each object and contains the most comprehensive summary of these works that I have found so far. The book itself is worth reading. Following his guide, a clockwise viewing reveals the following: a. Golgoltha, oil on glass. b. St. Francis. Bernardo Strozzi (1581-1644), a renowned Italian Baroque era master (also know as "il Cappuccino"), depicted the painting of St. Francis of Assisi.
This is a priceless painting by the Italian master who lived from 1432 to 1499. Gasparo Craglietto bought this painting from the Pinacoteca Pinelli in 1807. d. St. Lucy by Venetian artist Giuseppe Angeli, 18th century. Angeli lived from 1712 to 1798. e. St. Appolliona, another painting by Venetian artist Giuseppe Angeli, 18th century. f. The Mournful Virgin, (Madonna Addolorata) thought to be a copy of a Titian painting, but being currently studied to see if it is an original. g. The Holy Trinity with St. Anthony of Padua and St. Gregory of Spoleto, 18th century.
i. The Virgin. j. Virgin and Saints, relief, 16th century. k. Jesus and Centurion, Lonza, 1809. l. St. Jerome by a Venetian artist, 16th century. m. The Virgin Enthroned by Venetian artist Antonio Marinetti (called “il Chiozzotto”), who lived from 1719 to 1790. In this painting, the Virgin is pictured in the centre with Jesus and St. John the Baptist on the left, and a Bishop and St. Peter to the right. n. St. Joseph by Licinio da Pordenone (?). o. The Crucifixion with a bishop and St. Thomas, Venetian artist, 16th century. p. The Last Supper, beginning of 19th century. q. Statues and reliefs in the sanctuary. Stucco work by the Swiss master, Clemente Somazzi, end of 18th century. The Ceiling
This very painting over most of the ceiling space depicts the Mary Virgin and Child, St. Anthony Abbot, St. Gregory of Spoleto and many other saints. Within the walls of the church, there are in addition fourteen paintings of the Via Crucis (The stations of the cross) by Francesco Musolo. The Sacristy Audience of Venetian envoys at Pope Pius V, by a 16th century painter from Titian’s circle. Portraits of priests from Lussingrande. Mario Majarich |
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This page compliments of Mario Majarich and Marisa Ciceran Created: Friday, September 12,
2003; Last updated:
Saturday, February 23, 2008
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This main church of Lussingrande is also a repository and virtually a
gallery-museum of some outstanding works of art. Credited with patronage of most of these works is Gasparo Craglietto, who in 1807 acquired
five altars from the church of Santa Croce della Giudecca in Venice, and also acquired or commissioned a number of valuable art works to embellish the interior. Born in 1772 in Lussingrande, this sea captain was an inveterate collector of art and the most generous benefactor of the art in Lussingrande, and
he was well respected in this role also in Venice.
h. The Virgin and Child with Saints. Bysantine icon from the 16th century. This very old and important work is located just before the choir, directly across the entrance into the main altar from the sacristy. On the left side of the Madonna is pictured St. Spiridion, and on the right is St. John the Baptist. At the bottom of the icon, from the left, St. George, St. Nicholas the miracle worker, St. Gregory and
