It is well worth the effort to climb up the steep steps to the Aringo. This large open space, with its magnificent view at the highest point of the Barga hill (also known as the Romeccio hill), is the place where people gathered in the past to govern and to administer justice protected by its strong impregnable fortifications.
Here also is the site of the Duomo, the cathedral of Barga. This imposing structure, now a national monument, has dominated the territory of Barga and the Valley of the Serchio for over a thousand years.
Dedicated to St. Christopher, Barga’s cathedral stands on the top of the fortress that dominates the town and most of the Serchio valley. It is a remarkable building typical of Romanesque architecture, which has undergone different stages of
building and modernisation over the centuries.
The small castle church founded between the 10th and 11th century was extended in the 12th century, when a basilican plan building was erected; its facade is made up of square blocks of a limestone that acquires different tones and shades of colour depending on the intensity and its exposure to sunlight.
On the north-facing side door, there is a superb lintel decorated with a bas-relief, attributed to the artist, Biduino working in Lucca on 12th century.
The interior of the church consists of a nave and two aisles supported by pillars. It is split in two by 13th-century ornate solid pluteuses. Next to the right-hand pluteus, there’s the famous pulpit dating back to the second half of the 12th century attributed to Guido Bigarelli, known as Guido da Como, whereas the great multicoloured wooden statue of St. Christopher dominates from the semi-circle of the apse, standing 3.5 metres high.
Other works of art are also housed in the two side chapels and aisles, such as the canvas with St. Christopher by Nicolao Landucci (19th century) or the Della Robbia tiles in the chapel of Santissimo Sacramento.
If you are going up to the Aringo for the first time, either from Via del Pretorio or up the steps from Via della Speranza, you will find it difficult to decide whether to enter the Duomo directly, or to stop and admire the panorama which nature has so generously provided.
If you choose the latter you will see, on the one side, the line of the Apuan Alps and the Valley of the Serchio and on the other, behind the Duomo, the Appenine mountains of Tuscany and Emilia-Romagna whose steep slopes descend all the way down to Barga. But no description of this spectacular landscape is really adequate. You must see what has been the inspiration of poets and painters with your own eyes and your own feelings. It is always beautiful – by day in the sun or at night with the stars; in spring, summer, autumn or winter, when the scene changes with the continuous changes of colour with the seasons, or at sunset when the clouds in the background are tinged red, or on the 10th and 11th of November and the 30th and 31st of January, when there is the illusion of the double sunset. (article and many images here)
On these particular days, the rays of the sun create an optical illusion as they drop behind Monte Forato. They seem to reverse back onto the landscape giving an unreal aspect to the travertine facade of the cathedral and to its carved figures. And there is another illusion, also unique, to be seen from the Aringo. If you look across at the group of mountains which include Monte Forato and the Pania you find that across the horizon their profiles seem to form the outline of a giant who has been wounded and who is lying down on the bare earth. This configuration is known as the Dead Man and seems to be an offering by the Sculptor of the Universe to those on the Aringo who are straining their eyes to the uttermost limit to take in this astonishing scene.
From the back of the Duomo, the view is perhaps less spectacular, but even here nature has been generous. In the background, the crests of the Appenine mountains stand out against the sky, and from here you can see the mountains tops of the Romecchio, the Omo, the Giovo, and the Rondinaio which mark the border between Tuscany and Emilia-Romagna.
The steep slopes of these mountains, which descend as far as Barga, form a large number of small valleys and streams whose waters flow into the Serchio River. There are very few villages, or even houses in these areas and particularly in winter, when the snow is on the ground, or at night, when there are only a few lights here and there, you get the impression of an immense primitive landscape.
Turning now to the Duomo, you will experience, on the inside, an equal sensation of grandness and of natural beauty. The first construction was begun in the 10th Century, but this was followed by numerous additions, enlargements, restructurings and reconstructions right up until the first half of the 20th Century. The sum total of this work has created the magnificent cathedral that we see today and although wars and earthquakes have often threatened to destroy it, the people of Barga, with faith and good will, have always restored it and made it stronger and more beautiful. Throughout its history the voice of its bells has resounded from the bell tower across the valley and beyond.
During one of the restoration periods between 1927-1939, a plaque was mounted above the door leading to the bell tower, with the following inscription by Giovanni Pascoli:
“AT A TIME BEFORE THE YEAR 1000, WHEN THE PEOPLE OF BARGA WERE POOR AND LIVING ON ROAST CHESTNUTS THEY BUILT A DUOMO SAYING: IN MY HOUSE I HAVE TO JUMP FROM ONE BEAM TO ANOTHER – WHAT FREEDOM! BUT THE DUOMO MUST BE GRAND, AND MUST HAVE THE MOST BEAUTIFUL MARBLE PULPIT EVER SEEN SAYING: WHAT IS MINE IS SMALL, WHAT IS OURS IS GRAND!”.
The other important figures in this restoration were Monsignor Lino Lombardi and Morando Stefani, the “Workman” of the Duomo and Mayor of Barga.
As soon as you have crossed the threshold you will be struck by the huge 13th Century wooden statue of St. Christopher, the Christ Bearer, who is the patron saint of Barga and of automobile drivers. The cathedral is dedicated to him and from his niche of gold behind the high altar in the central choir, he seems to be reassuring the visitor that his strength is sufficient to calm the fears of all those who place their trust in him.
In the chapel to the left, at the centre of the Baroque altar, there is a lovely painting by an unknown artist, datable to around 1500, which besides depicting St. Joseph, St. Rocco and St. Anthony, shows Barga as it was in the 16th Century with its cathedral bell tower and battlements.
Inserted in the painting there is a 13th Century painted panel representing the Madonna del Mulino (Our Lady of the Mill), also by an unknown artist.
On the right hand walls of this chapel there is a 14th Century panel painting of the suffering Christ. The artists is unknown although Federico Zeri assigns it to a lesser known ‘Barga Master’ who was under the influence of the Emilian school.
The chapel on the right, known as the Santissimo Sacramento, is richly decorated with works in the style of the della Robbia brothers, but not always attributable to them. The unglazed altar piece depicting the Mother and Child with St. Rocco and St. Sebastian, is badly damaged from the time it was situated outdoors in the cloister of the monastery of St. Francis.
The Child in fact is missing as are several figures on the predella and there are obvious signs of extensive restoration.
On the side walls of this chapel two other works are displayed. On the left is the Ciborium of the Holy Oil by Andrea della Robbia and on the right is a small altar piece representing the Nativity.
The 13th Century marble pulpit is attributed to the Como school of Guido Bigarelli, and is the most precious work of art inside the Duomo. The symbolism of its sculpted figures is quite complex. In the section on the right is the figure of the prophet Isaiah. In the front there is a representation of the Annunciation and the Birth of Christ with an inscription in Latin which explains the symbolism. In the left section the Adoration of the Magi is depicted, but is blocked by a group of figures representing the four Evangelists. The human figure represents Mathew, the lion, Mark, the ox, Luke and the eagle, John.
The other human figure on the left has been interpreted in different ways. Some identify it as Joseph, others as Moses and others still, as Aronne, the first priest chosen by God. The two lions at the base of the columns symbolise the triumph of Christianity over evil and heresy. The lion on the left has a serpent (evil) between its legs and the one on the right holds a man (heresy) who is stroking the lion with one hand while stabbing it with the other.
Further treasures to be found in the Duomo are several other Della Robbian works, various paintings, stained glass windows and a large modern organ. Indeed this is a place no-one can ignore who sets foot in this historic town, a town which for its history, its art and its culture can be considered the pearl of the Serchio Valley.
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Passando ora al Duomo, all’interno si sperimenta una sensazione di grandezza e bellezza naturale. La prima costruzione iniziò nel X secolo, ma furono successivamente aggiunti numerosi ampliamenti, ristrutturazioni e ricostruzioni fino alla prima metà del XX secolo. Il risultato di questi interventi ha creato la magnifica cattedrale che vediamo oggi, e sebbene guerre e terremoti abbiano spesso minacciato di distruggerla, il popolo di Barga, con fede e buona volontà, l’ha sempre restaurata, rendendola più forte e più bella. Nel corso della sua storia, la voce delle sue campane ha risuonato dal campanile attraverso la valle e oltre.
Durante uno dei periodi di restauro tra il 1927 e il 1939, una targa fu posta sopra la porta che conduce al campanile, con la seguente iscrizione di Giovanni Pascoli:
“IN UN TEMPO PRIMA DELL’ANNO 1000, QUANDO IL POPOLO DI BARGA ERA POVERO E VIVEVA DI CASTAGNE ARROSTITE, COSTRUÌ UN DUOMO DICENDO: NELLA MIA CASA DEVO SALTARE DA UNA TRAVE ALL’ALTRA – CHE LIBERTÀ! MA IL DUOMO DEVE ESSERE GRANDE, E DEVE AVERE IL PULPITO DI MARMO PIÙ BELLO CHE SI SIA MAI VISTO, DICENDO: CIÒ CHE È MIO È PICCOLO, CIÒ CHE È NOSTRO È GRANDE!”.
Le altre figure importanti in questo restauro furono Monsignor Lino Lombardi e Morando Stefani, il “Lavoratore” del Duomo e sindaco di Barga.
Appena varcata la soglia si rimane colpiti dalla grande statua lignea del XIII secolo di San Cristoforo, il Portatore di Cristo, che è il patrono di Barga e degli automobilisti. La cattedrale è dedicata a lui e dalla sua nicchia d’oro dietro l’altare maggiore nel coro centrale, sembra rassicurare i visitatori che la sua forza è sufficiente a calmare le paure di chiunque riponga fiducia in lui.
Nella cappella a sinistra, al centro dell’altare barocco, c’è un bellissimo dipinto di un artista sconosciuto, databile intorno al 1500, che oltre a raffigurare San Giuseppe, San Rocco e Sant’Antonio, mostra Barga com’era nel XVI secolo con il suo campanile e le mura merlate.
Nel dipinto è inserito un pannello dipinto del XIII secolo che rappresenta la Madonna del Mulino, anch’esso opera di un artista sconosciuto.
Sulle pareti di destra di questa cappella si trova un pannello dipinto del XIV secolo che raffigura il Cristo sofferente. L’artista è sconosciuto anche se Federico Zeri lo attribuisce a un meno noto ‘Maestro di Barga’ influenzato dalla scuola emiliana.
La cappella a destra, nota come Santissimo Sacramento, è riccamente decorata con opere nello stile dei fratelli Della Robbia, ma non sempre a loro attribuibili. L’altare non smaltato che raffigura la Madre e il Bambino con San Rocco e San Sebastiano è gravemente danneggiato dal tempo in cui era situato all’aperto nel chiostro del convento di San Francesco.
Il Bambino infatti manca, così come alcune figure sulla predella, e ci sono evidenti segni di un restauro esteso.
Sulle pareti laterali di questa cappella sono esposte altre due opere. A sinistra si trova il Ciborio degli Oli Santi di Andrea della Robbia e a destra un piccolo altare che rappresenta la Natività.
Il pulpito marmoreo del XIII secolo è attribuito alla scuola comasca di Guido Bigarelli, ed è l’opera d’arte più preziosa all’interno del Duomo. Il simbolismo delle sue figure scolpite è piuttosto complesso. Nella sezione di destra c’è la figura del profeta Isaia. Sul davanti vi è una rappresentazione dell’Annunciazione e della Nascita di Cristo con un’iscrizione in latino che spiega il simbolismo. Nella sezione di sinistra è raffigurata l’Adorazione dei Magi, ma è bloccata da un gruppo di figure che rappresentano i quattro Evangelisti. La figura umana rappresenta Matteo, il leone, Marco, il bue, Luca e l’aquila, Giovanni.
L’altra figura umana sulla sinistra è stata interpretata in vari modi. Alcuni la identificano come Giuseppe, altri come Mosè e altri ancora come Aronne, il primo sacerdote scelto da Dio. I due leoni alla base delle colonne simboleggiano il trionfo del cristianesimo sul male e l’eresia. Il leone a sinistra ha un serpente (il male) tra le zampe e quello a destra tiene un uomo (l’eresia) che accarezza il leone con una mano mentre lo pugnala con l’altra.
Ulteriori tesori da trovare nel Duomo sono diverse altre opere dei Della Robbia, vari dipinti, vetrate e un grande organo moderno. Questo è davvero un luogo che nessuno può ignorare, una volta messo piede in questa storica città, una città che per la sua storia, la sua arte e la sua cultura può essere considerata la perla della Valle del Serchio.
