Romanesque Church Construction
back to overviewKatholische Pfarrkirche S. Giulio*
6957 Roveredo GR
Mentioned 1219; new construction of choir around 1300, tower before 1430, side chapels perhaps end of 15th century/beginning of 16th century, extension of nave around 1643; renovation 1945, with exposure of the drystone masonry.
Large Mediaeval building with Romanesque-Gothic polygonal end to choir, side chapels near to choir and two-storey north annexe. On the south side, a post-Romanesque tower with flat niches and round arch friezes in the three uppermost floors. Round arch friezes between lesenes in the choir, sealed-up entranceway with rough-hewn jamb stones on the southern nave wall. Pilaster-framed gable portal from 1643.
Wood-beamed coffer ceiling in the central nave, the baptistery on the north side and, above it, the oratory of the sacramental congregation, which opens onto a wooden gallery with a round-arched double arcade. Cross-fan vault in the choir.
Wall Paintings. Uniform Renaissance painting of the choir (heavily reworked) by Hieronymus Gorla in 1545, the Latin Fathers of the Church and Saint Julius on the northern shield wall, Man of Sorrows on the end wall, the Saints Barbara and Anthony on the slanted southern wall, Majestas Domini in the vault, Prophets in the choir arch, Annunciation on the wall of the choir arch, a Grisaille-style Renaissance frieze above it. On the south wall of the nave, a fragment of a portrayal of Sebastian from 1479 by Christoforo da Seregno. Two small windows discovered in the southern and northern nave walls in 1945 reveal paintings from the beginning of the 14th century with Early Gothic spiral tendrils and ashlar paintings respectively.
Furnishings: on the high altar, a temple-shaped Baroque tabernacle from 17th century; two candleholders with putto bearers from around 1650. Side altars out of stucco with half-figured caryatids from around 1630, Late Gothic Mother of God statue out of the Strigel workshop from around 1500 in the niche to the left; Virgin of Mercy painting attributed to Mathis Chefeler from around 1630-40 to the right, antependium out of stucco lustro from around 1740-50.
In the southern side chapel, Early Baroque plastering and stucco altar by Domenico Pacciorini from 1634; restored 1998. Plastering of the northern side chapel, as well as the somewhat extensively reworked paintings, from mid-17th century. In the baptistery, a marmoreal font with an octagonal wooden top-piece from 1607.
On the right nave wall, a mural fragment of The Last Supper after Leonardo da Vinci transferred to canvas around 1540-50 from the St. Fidelis Chapel. On the gallery balustrade of the oratorio, 26 pictorial scenes on the subject of sacramental worship by Nicolao Giuliani in 1690. Apostle series (heavily reworked) from 2nd half of 17th century. Painting from 17th/18th century, grave panels from 17th century. Mediaeval stone fragment with crest and delicate plaid motif.
(Kunstführer durch Graubünden, Hg. Gesellschaft für Schweizerische Kunstgeschichte. Eng. translation of the title: Art Guide of Graubünden, ed. Society for the History of Swiss Art, Zurich 2008. This book has only been published in German.)
Large Mediaeval building with Romanesque-Gothic polygonal end to choir, side chapels near to choir and two-storey north annexe. On the south side, a post-Romanesque tower with flat niches and round arch friezes in the three uppermost floors. Round arch friezes between lesenes in the choir, sealed-up entranceway with rough-hewn jamb stones on the southern nave wall. Pilaster-framed gable portal from 1643.
Wood-beamed coffer ceiling in the central nave, the baptistery on the north side and, above it, the oratory of the sacramental congregation, which opens onto a wooden gallery with a round-arched double arcade. Cross-fan vault in the choir.
Wall Paintings. Uniform Renaissance painting of the choir (heavily reworked) by Hieronymus Gorla in 1545, the Latin Fathers of the Church and Saint Julius on the northern shield wall, Man of Sorrows on the end wall, the Saints Barbara and Anthony on the slanted southern wall, Majestas Domini in the vault, Prophets in the choir arch, Annunciation on the wall of the choir arch, a Grisaille-style Renaissance frieze above it. On the south wall of the nave, a fragment of a portrayal of Sebastian from 1479 by Christoforo da Seregno. Two small windows discovered in the southern and northern nave walls in 1945 reveal paintings from the beginning of the 14th century with Early Gothic spiral tendrils and ashlar paintings respectively.
Furnishings: on the high altar, a temple-shaped Baroque tabernacle from 17th century; two candleholders with putto bearers from around 1650. Side altars out of stucco with half-figured caryatids from around 1630, Late Gothic Mother of God statue out of the Strigel workshop from around 1500 in the niche to the left; Virgin of Mercy painting attributed to Mathis Chefeler from around 1630-40 to the right, antependium out of stucco lustro from around 1740-50.
In the southern side chapel, Early Baroque plastering and stucco altar by Domenico Pacciorini from 1634; restored 1998. Plastering of the northern side chapel, as well as the somewhat extensively reworked paintings, from mid-17th century. In the baptistery, a marmoreal font with an octagonal wooden top-piece from 1607.
On the right nave wall, a mural fragment of The Last Supper after Leonardo da Vinci transferred to canvas around 1540-50 from the St. Fidelis Chapel. On the gallery balustrade of the oratorio, 26 pictorial scenes on the subject of sacramental worship by Nicolao Giuliani in 1690. Apostle series (heavily reworked) from 2nd half of 17th century. Painting from 17th/18th century, grave panels from 17th century. Mediaeval stone fragment with crest and delicate plaid motif.
(Kunstführer durch Graubünden, Hg. Gesellschaft für Schweizerische Kunstgeschichte. Eng. translation of the title: Art Guide of Graubünden, ed. Society for the History of Swiss Art, Zurich 2008. This book has only been published in German.)
