Popiglio section

The Museum of Sacred Art of Popiglio is housed in two different venues, the sacristy of the church of Santa Maria Assunta and the Oratory of the Company of Corpus Christi. The idea pursued in the creation of this museum is to present furnishings, vestments and works of art that combine the great quality the ability to document a set of values linked directly to religious piety and history of the area.

The Museum of Popiglio it puts it in an area of culture and particularly homogeneous traditions, identified and valued by the Pistoia Mountain Eco system that promoted since 1989 by the Culture of the Province of Pistoia, has operated not only for the enhancement of cultural and environmental heritage of the Mountain, above all, he sought to document the many different aspects of relations between geographical and human settlement environment, which have gone defining historically in the Pistoia Apennines.

The first section of the museum, inaugurated in 1993, is, as we said, set up in the sacristy of the church of Santa Maria Assunta, built by Girolamo Magni in 1571. In this character, of great culture and sensitivity man who had received the prestigious title of priest in 1555, it has over the years a ceaseless commitment to the total furnishing renewal of the church, in full harmony with the spirit of the post-tridentine Church. He was responsible, in addition, also the commissioning of important works of art, such as the altarpiece carved and gilded wood for the altar executed in 1565.

Entering the great hall, to the right, within a wide window are placed a series of liturgical objects among which we highlight some items donated by the family of munificent Vannini that, emigrating from Popiglio in the second half of the seventeenth century, had found a large fortune in Rome with trade: to them, as we shall see, must be numerous donations made furniture run by the Roman masters, and that over the years they did arrive at this location on the Mount, seemingly isolated from large art processing centers, works extremely updated and ?? modern ??. It is, in the first place, of an angel in molten silver embossed and which rests on a basement in golden bronze. The elegant figure was part of a more complex reliquary as inform the documentary sources, kept the relic of the Holy Cross and belonged to the chapel of the Annunciation of patronage of Vannini. The decoration refers to the Roman production and inspired in the angel's solution-holder casket to berninina and algardiana branching patterns, the type that will find a large fortune during the second half of the seventeenth century.

A Camilla Migliorini, wife of John Vannini, it then must the donation of the grand cross in silver, to which is applied a small door theca-relics. The decor, dated 1677, is the work of silversmith Marco Gamberucci, as clearly revealed the punch found. The teacher, a native of Florence, was transferred to work in Rome where he had acquired the license as a goldsmith in April 1656. At his shop ?? in which, among others, he exercised the famous silversmith John Gardens ?? They turned prestigious clients as the cardinal Francesco Barberini and Lorenzo Pallavicini.

Entering the great hall, to the right, within a wide window are placed a series of liturgical objects among which we highlight some items donated by the family of munificent Vannini that, emigrating from Popiglio in the second half of the seventeenth century, had found a large fortune in Rome with trade: to them, as we shall see, must be numerous donations made furniture run by the Roman masters, and that over the years they did arrive at this location on the Mount, seemingly isolated from large art processing centers, works extremely updated and ?? modern ??. It is, in the first place, of an angel in molten silver embossed and which rests on a basement in golden bronze. The elegant figure was part of a more complex reliquary as inform the documentary sources, kept the relic of the Holy Cross and belonged to the chapel of the Annunciation of patronage of Vannini. The decoration refers to the Roman production and inspired in the angel's solution-holder casket to berninina and algardiana branching patterns, the type that will find a large fortune during the second half of the seventeenth century.

A Camilla Migliorini, wife of John Vannini, it then must the donation of the grand cross in silver, to which is applied a small door theca-relics. The decor, dated 1677, is the work of silversmith Marco Gamberucci, as clearly revealed the punch found. The teacher, a native of Florence, was transferred to work in Rome where he had acquired the license as a goldsmith in April 1656. At his shop ?? in which, among others, he exercised the famous silversmith John Gardens ?? They turned prestigious clients as the cardinal Francesco Barberini and Lorenzo Pallavicini.

Entering the great hall, to the right, within a wide window are placed a series of liturgical objects among which we highlight some items donated by the family of munificent Vannini that, emigrating from Popiglio in the second half of the seventeenth century, had found a large fortune in Rome with trade: to them, as we shall see, must be numerous donations made furniture run by the Roman masters, and that over the years they did arrive at this location on the Mount, seemingly isolated from large art processing centers, works extremely updated and ?? modern ??. It is, in the first place, of an angel in molten silver embossed and which rests on a basement in golden bronze. The elegant figure was part of a more complex reliquary as inform the documentary sources, kept the relic of the Holy Cross and belonged to the chapel of the Annunciation of patronage of Vannini. The decoration refers to the Roman production and inspired in the angel's solution-holder casket to berninina and algardiana branching patterns, the type that will find a large fortune during the second half of the seventeenth century.

A Camilla Migliorini, wife of John Vannini, it then must the donation of the grand cross in silver, to which is applied a small door theca-relics. The decor, dated 1677, is the work of silversmith Marco Gamberucci, as clearly revealed the punch found. The teacher, a native of Florence, was transferred to work in Rome where he had acquired the license as a goldsmith in April 1656. At his shop ?? in which, among others, he exercised the famous silversmith John Gardens ?? They turned prestigious clients as the cardinal Francesco Barberini and Lorenzo Pallavicini.

In the second cabinet they are exposed to a large number of shrines to the Roman in silver foil on wooden support. Among these if they stand out for the refined execution of a group of four, dated 1729, which have the maker's mark Antonio Politi, depicting a Latin cross radiused placed on a heraldic upstream. The master, already mentioned for the execution of the Reliquary of the Cross , proposes for reliquaries a compositional and decorative scheme widely adopted in this period with the profile formed by the alternation of unintended opposing acantiformi and by the use of plastics angelic heads and lush elements foliaceous. In addition to valuable enclosures we are exposed two precious medallions of marble with the portraits of Pope Clement XI and the Grand Duke Cosimo III de 'Medici , and Roman artefacts, pieces dated to the first decade of the eighteenth century.

At the end of the hall, a large showcase contains again several church furnishings, which once again demonstrate the importance and richness of the treasure of St. Maria Assunta church. First, it signals a crucifix in wood with mother of pearl inlays and Christ cast bronze, from the late seventeenth century. In a similar context Pistoia specimen is preserved in the church of Santa Margherita in Santa Margherita, near Pescia. Of Florentine production must consider the missal , dated 1794, with covered in crimson velvet, which presents on each plate four Cantonal applied constituted by a pair of cornucopias overflowing with flowers joined at the lower end from which it arises a shell and at the center a medallion oval with the depiction of the Assumption on the front and St. Peter's on the back.

Finally I have to remember two furniture that come from the Company's equity of the immaculate conception, and which were of relevance altar of the immaculate conception (the second on the right wall of the church), built in 1657 at the expense of community Popigliesi of residents in Rome. It is a ciborium in silver, commissioned by the brotherhood in 1704, as the inscription engraved under the base. The vessel has a circular foot which is connected via a piriformis node to the sump. The latter is surmounted by a lid with apical tick on the globe, decorated by volutes acantiformi, flowers, palmettes worked in cantilever fashion on the bottom of granite. The decor, like clarifying the punches, lies in the production of the Burgundian master HOUSEH Christmas (Noel Millet), active in Rome between 1673 and 1720, whose workshop was marked by the Anchor brand. At the same Roman production is attributable to the elegant goblet which presents on the edge of the foot the inscription: CONF.SS.MAE CONCT.TERRAE POPILY FECIT YEAR 1766. The product is characterized by the elaborate and lavish embossed decoration that alters the whole compositional structure. The rich ornamental repertoire that sees the use of motifs such as the angelic heads, acanthus leaves, shells, bunches of grapes, scrolls and floral pendants are typical of the courtly language of the Roman school.

The second section of the Museum of Sacred Art was recently staged in the oratory of the Company of Corpus Christi, allegedly built after 1595 on the right side of the square. The prestigious environment is now newly accessible thanks to the restoration that has consolidated and made a full readability to the beautiful wooden ceiling decorated with the image of God the Father and with symbols of the Passion , made by a local artist with a lively although rustic expression . In the oratory they are exposed to a large number of sacred vestments of relevance not only of the church of S. Maria Assunta but also from the local churches.

In the large window right into preserved among others a tunicle in broccatello of Tuscan manufacture from the second half of the sixteenth century church of Santa Maria Assunta in Gavinana and ' other in silk damask, dated 1657, of the church.

On the right wall is exposed the painting of the ' Annunciation , executed by the Veronese painter Sebastiano Vini in 1577. The work was commissioned by the parish priest Girolamo Magni to be located on the first altar on the right into the church of Santa Maria. The teacher in the same year he completed the decoration of the altar reredos. Nell ' Annunciation of the wines is not different from the formal and compositional solutions already adopted by him in dealing with the same subject for the churches of St. John the Evangelist in Montale and S. Maria delle Grazie and St. John Forcivitas in Pistoia.

The altar of the oratory, made of polychrome marble, dating ?? as documented by a plaque on the back ?? 1798 and has a front frontal with symbols of the Passion and the dead Christ , referring to the late eighteenth century Tuscan manufacture. The reredos in polychrome wood is the work of Niccolò di Francesco Picchiarini, always performed in 1592 at the expense of the priest Girolamo Magni; while the painting of souls taken from purgatoryis due to an unknown painter from Pistoia (dated 1735). To the sides of the altar are on display in a shop window a series of reliquaries eighteenth-century Roman silver leaf on wooden support.

On the left wall there is a painting of The washing of the feet (recently restored) followed the early seventeenth century, perhaps the son of Sebastian Wines, Jacopo. The work was placed on the altar as would seem to suggest the person depicted reminiscent of the institution of the sacrament of the Eucharist and that makes explicit reference to the duties of care which they were held the company's brothers. On the same wall is inserted a small window that encloses a lamp with a triple suspension in silver, performed by a Florentine goldsmith in 1677, a palmatoria eighteenth in silver metal, a series of three carteglorias in silver foil on wooden support, donated by Domenico Pacini in 1768, and finally two shrines to the Roman, made to the same customer expenses in 1773.

In the great showcase on the left entering, it is again exposed a significant core of liturgical hangings coming from the territory churches bearing witness to the preciousness and the quality of an artistic material worthy of being adequately preserved and enhanced. Predominant is the number of planets : the oldest, dating to the last quarter of the sixteenth century, it belongs to the church of Santa Maria Assunta in Lizzano. From the church of Popiglio come a tunicle in lampasso of Tuscan manufacture from the first half of the eighteenth century and cope silk embroidered the end of the same century.

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