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Katholische Pfarrkirche S. Maria Assunta*

6541 Sta. Maria Calanca
Set on a location with an unparalleled vista, the church was splendidly furnished in a post Mediaeval period.

The parish church of the valley, only formally disassociated from the parish of San Vittore between 1520 and 1546. Mentioned 1219, choir newly built 1385 or 1415, nave lengthened 1606; restored 1954 – 58.

Elongated building, which widens toward the end with a square choir and sacristy; in the choir a blind arch frieze. In the north choir entrance a Gothic tower with blind niches and frieze with small pointed arches, octagonal upper section and pyramid timber, Baroque- Tuscan atrium from the 2nd half of the 17th century; round arch stone portal 1606 by Giovanni Andrioli, flanked by archaic Herm pilasters, which have been identified as Isaiah and the Persian Sibyl.

In the nave a richly painted Renaissance coffer ceiling from 1606 with sculptured rosettes. In the choir a cross vault with polychrome Misox stucco ornamentation 1626, the paintings by Alessandro Gorla, 1628; in the vault the Coronation of Mary and a group of angels making music, in the choir arch embrasure scenes from the Passion as well as cherubs holding the coats of arms of the Calanca, the Grey League, Grono and S. Vittore; in the vault escutcheons to the left a triptych with the Assumption of Mary, Joseph’s Dream, the Escape out of Egypt (after Bramantino), to the right around the window lunettes, prophets and Christological scenes, in the escutcheons of the front wall is the Resurrection of Mary, on the choir arch wall the Annunciation. On the long nave walls are the remains of a Late Gothic wall painting from the end of the 15th century, the Last Supper and the Assumption of Mary. Tri-axial gallery above cross vaults by Giovanni Andriolo and Antonio Maffero 1618; above this a wall painting by Agostino Duso 1727: the Birth and Death of Mary (after Carlo Maratta 1685) as well as the Death of Joseph; beneath the gallery is a wall painting of the Baptism of Christ by De Julianis, Roveredo, 1686.

On the Choir Altar is a pavilion-like top piece with a dressed Madonna 1724 as well as a Rococo tabernacle and expositorium (the Late Gothic carved altar by Ivo Strigel, 1512, that used to stand here is now in the Historical Museum Basel); Celebrant seat with painted figures of the Saints Karl Borromäus, Lucius and Francis from 1650. The side altars are beneath stuccowork and painted arcade baldachins, the painting at the right by Georg Wilhelm Graesner, 1646; on the Cross Altar to the left a cambered Rococo cabinet with a crucifix from the beginning of the 18th century; top piece of the Rosary Altar on the right is a three-part half temple 1662, on the inside is a Late Gothic figure of the Mother of God and the Saints Sebastian and Rochus from the workshop of Christoph Schneller, 1512, framed with 15 carved miniature pictures of the Rosary Mystery from 1655. On the north wall is a Francis Altar with heavy stucco structuring 1684, next to this is a Late Neo-classical column retable, 1851. On the south side a wooden retable in southern German style with a painting of the Resurrection of Lazarus by Graesner, 1644, combined coat of arms of Lazarus de Molina and Margaretha von Schauenstein, next to this a Regency stuccowork altar with a figure of Saint Anthony by G. D. Waser, 1734, with the coat of arms of Antonio Pregaldini. Rectangular pulpit, 1650, with angels blowing trombones and the emblem of the Capuchin order, below this a painted double stairway for the Good Friday liturgy. Three large-format paintings by Graesner: The Battle of Lepanto and a picture of the Plague 1649, Granting of the Indulgence of the Porziuncola 1643. A series of Apostle paintings from the middle of the 17th century. Marble baptismal font with a hexagonal, temple-shaped wooden cover, 1610. Valuable treasury of the church.

(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.)