I recently wrote about Brancoli Cross in my post at https://longoio3.com/2018/05/24/a-watchtower-that-became-a-cross/ . Brancoli itself has one of the most magnificent Pievi in the whole of Lucca province. (A Pieve is a step above a plain parish church and used to be until recently the only kind of church where baptism could take place).
Inside, the Pieve, dedicated to Saint George, has a nave and two aisles separated by columns and pilasters surmounted by capitals decorated with stylised plant motifs.
The roof is supported on wooden trusses and the apse is slightly raised and is still divided by a partition, for in the Middle Ages there was a distinct barrier between the officiants of a church service and the congregation. (This division is still a feature of Orthodox churches and, indeed of many English cathedrals, abbeys and kingly chapels where the choir is a space completely unto itself, as in the Royal chapel at Windsor Castle where a recent wedding took place.
The octagonal font of the twelfth century, in the left aisle, is signed “Guido”, a Lombard master working in Lucca who was responsible for the original Romanesque Santa Maria Corteorlandini in that city. It is decorated with plant motifs and heads; with a fruit carved on each corner including a pomegranate, a clue that this church was commissioned by that great mediaeval lady Grand-contessa Matilde di Canossa.
If you think the font is rather large that is because, again in the mediaeval church, baptism was achieved by complete immersion and not just confined to new-born babies – repentant adults would also have to be immersed!
Sadly the stoup (the holy water basin in which the faithful dip their hands and do the sign of the cross when entering the church) and dating from the eleventh century, was unfortunately stolen in June 2000 as the sorry sign says – a new one, however, has been put in its place. Goodness knows where the original has finished up. I hope it’s on the huge database of stolen works of art and that someone somewhere may be racking their conscience about it…
The best piece of sculpture, however, is the ambo or pulpit, dated 1194 and the work of master Guidetto. It is rectangular in plan, with Corinthian columns that sustain it, two of of which are supported on lions, one of which is in the act of killing a serpent-like dragon – clearly a depiction of the triumph of good over evil. In my opinion it’s just as fine as the larger pulpit with lions in Barga cathedral and harks towards the magnificent pulpits one can see in Pistoia’s churches. Note also the noble effigy of Matilde in the centre of one side.
There are several other wonderful works of art in this church including a Della Robbia terracotta depicting Saint George and the misused dragon.
At the end of the north aisle is this exquisite tabernacle:
There is also a fine thirteenth century painted crucifix
and a sweet fresco of the Annunciation.
The Pieve has also some fascinating sculpture on its exterior:
There is a mysterious little man sculpted in the arch of a side doorway who is populariy known as ‘il brancolino’. I wonder who he represents? An Italian version of the anglo-saxon ‘green man’ perhaps?
Some years back I sang in a choir in San Giorgio di Brancoli on Saint George’s day in a special service attended by members of the order of Saint George wearing their opulent cloaks. Later that Sunday I went to a St George’s day party organized by an Englishman – Saint George can truly be said to be an international saint and a good excuse to celebrate!
It is, however, sad to note that probably the most gracious pieve in the whole province is shut except for one day in the year when Mass is celebrated. It’s only thanks to the efforts of volunteers in a parish which only counts 140 inhabitants that we were able to visit the Pieve. Three phone numbers are affixed onto the main door and, thanks to these, the Pieve doors were opened for us. (Donation welcomed).
