Founder of the Pieve is considered the archbishop of Pisa Daiberto, therefore the birth of the piviere and attributable to the years 1088-1098, years of his episcopate. The first constructive phase of the church ends around 1111, when the Pisan archbishop Pietro Moriconi, a successor of Daiberto, lays the relics of Sant\u2019Ermolao – priest and martyr of Nicomedia – from the church of the saints Ciro and Giovanni di Constantinople.
The cult of Sant\u2019Ermolao is closely connected to the figure of another martyr, S. Pantaleone, to whom a church was dedicated, with an adjoining canonical community, located on the heights of Monte Pisano, near Monte Faeta and dating back to about 1040.
The parish church of the saints Giovanni and Ermolao has a basilica plant with a Latin cross, with three naves, transept and side chapels. It constitutes one of the best examples of the Pisan Romanesque style developed in the area, with architectural elements that strictly refer to the major models. The facade presents a plant with asymmetrical salient and is however the architectural part that preserves the original Romanesque configuration in a more intact way. Furthermore, the peculiar use of polychrome and lapid tarsie, in which the white of marble is flanked by the gray of the blackboard stone, represents an uncommon example among the surrounding Romanesque rural parishes.<\/p>\n","modified":"2022-10-03T14:46:12","color":"","icon":"","noDetails":false,"noInteraction":false,"zindex":"","image":"http:\/\/ir.be.webmapp.it\/wp-content\/uploads\/2020\/02\/14-300x300.jpg","accessibility":{"mobility":{"check":false,"description":""},"hearing":{"check":false,"description":""},"vision":{"check":false,"description":""},"cognitive":{"check":false,"description":""},"food":{"check":false,"description":""}},"reachability":{"by_bike":{"check":false,"description":""},"on_foot":{"check":false,"description":""},"by_car":{"check":false,"description":""},"by_public_transportation":{"check":false,"description":""}},"locale":"en","source":"http:\/\/ir.be.webmapp.it\/wp-json\/wp\/v2\/poi\/6776","wp_edit":"http:\/\/ir.be.webmapp.it\/wp-admin\/post.php?post=6776&action=edit","translations":{"it":{"id":1274,"name":"T8.1 - Pieve dei Santi Giovanni Evangelista ed Ermolao","web":"http:\/\/ir.be.webmapp.it\/t8-1-pieve-dei-santi-giovanni-evangelista-ed-ermolao\/","source":"http:\/\/ir.be.webmapp.it\/wp-json\/wp\/v2\/poi\/1274","description":"\n
Fondatore della Pieve viene considerato l\u2019Arcivescovo di Pisa Daiberto, quindi la nascita del piviere e attribuibile agli anni 1088-1098, anni del suo episcopato. La prima fase costruttiva della chiesa termina intorno al 1111, quando l’Arcivescovo pisano Pietro Moriconi, successore di Daiberto, vi depone le reliquie di Sant\u2019Ermolao \u2013 prete e martire di Nicomedia \u2013 provenienti dalla Chiesa dei Santi Ciro e Giovanni di Costantinopoli.<\/p>\n\n\n\n
Il culto di Sant\u2019Ermolao \u00e8 connesso strettamente alla figura di un altro martire, S. Pantaleone , a cui era dedicata una chiesa, con annessa comunit\u00e0 canonicale, localizzata sulle alture del Monte Pisano, vicinoal monte Faeta e risalente al 1040 circa.<\/p>\n\n\n\n
La Pieve dei Santi Giovanni ed Ermolao ha impianto basilicale a croce latina, con tre navate, transetto e cappelle laterali. Essa costituisce uno dei migliori esempi dello stile romanico pisano sviluppato nella zona, con elementi architettonici che rimandano strettamente ai modelli maggiori. La facciata presenta impianto a salienti asimmetrico ed \u00e8 tuttavia la parte architettonica che preserva in maniera pi\u00f9 integra la configurazione originale romanica. Inoltre, il peculiare utilizzo della policromia e delle tarsie lapidee, nelle quali il bianco del marmo si affianca al grigio della pietra lavagna, rappresenta un esempio non comune fra le circostanti Pievi rurali romaniche.<\/p>\n"}},"web":"http:\/\/ir.be.webmapp.it\/poi\/t8-1-pieve-dei-santi-giovanni-evangelista-ed-ermolao\/?lang=en","addr:street":"","addr:housenumber":"","addr:postcode":"","addr:city":"","contact:phone":"","contact:email":"","opening_hours":"","capacity":"","content_from":"","titolo_alternativo":"Pieve di Calci \/ Chiesa dei Santi Giovanni Apostolo ed Ermolao Martire","rilevanza_storica":"The Pieve, currently dedicated to the saints Giovanni Evangelista and Ermolao, stands in the heart of the center\r\ninhabited kicks. The original dedication of the church is in Santa Maria and the territory on which it, originally, exercises its jurisdiction is obtained by subtraction, at the end of the 11th century, from that of the parrone parrone. Founder of the Pieve is considered the archbishop of Pisa Daiberto, therefore the birth of the piviere is attributable to the years 1088-1098, years of his episcopate. The archbishops kicked have many properties in the Middle Ages, including a fortified home, where they stayed frequently: this privileged relationship with the territory therefore explains the foundation of the New Pieve and the appointment of Pievani chosen among the canons of the city cathedral: the baptismal church It is in fact erected on an archbishop's land owned, where there was a chapel of Santa Maria called \"\"ad Curthem\"\", near which the Pisan bishops held the elegant court. The new church is equipped with rectory, cloister, bell tower, hospital and cemetery, and surrounded by vegetable gardens and vineyards.\r\nThe first constructive phase of the church ends around 1111, when the Pisan archbishop Pietro Moriconi, a successor of Daiberto, lays the relics of Sant\u2019Ermolao - priest and martyr of Nicomedia - from the church of the saints Ciro and Giovanni di Constantinople. The saint is decreed protector of the Calcesano people, as stated with an epigraph that still existing on the pillar to the right of the main altar, and during the fifteenth century the building is dedicated to it. The cult of Sant\u2019Ermolao is closely connected to the figure of another martyr, San Pantaleone, to whom a church was dedicated, with an adjoining canonical community, located on the heights of Monte Pisano, near Mount Faeta and dating back to about 1040.\r\nOver time, the architectural elements of different eras were added to the original Romanesque body body: the facade with salient, albeit reworked, is the architectural part that preserves the original, Romanesque configuration of the Pieve in a more integration. In the second half of the twelfth century the expansion works to the church in the north are started, with the aim of finding housing for the great baptismal font - unfinished work attributed to the school of the sculptor Biduino. The baptismal font is one of the most important testimonies of the neo-antique characters taken by sculpture in the Pisan-Lucchese area. Further classic quotations, in the sculptural artifact, are the representation of the Jordan River in human form and the insertion of Diangeli-Genii. Similar classicizing forms characterize the interior of the church, in which there are two paintings by Aurelio Lomi, a tablet with the \"\"Madonna and Child\"\" of Cecco di Pietro and what remains (the face) of a painted cross of the twelfth century.\r\nIn the second half of the fourteenth century, the country of Calci is involved in the long war between Pisani and Fiorentini, in the context of which, in 1375, the Pieve suffered numerous damage at the hands of the troops led by the leader John Hawkwood, locally called Giovanni Acute. The portion of the most affected building is the south side, together with the buildings of the canonical house and the hospital.\r\nIn 1646 the urn with the relics of Sant\u2019Ermolao was translated from the main altar to the nearby lateral altar. On the other hand, the construction of the semi -referentic dome placed above the main cruise dates back to 1737. It is decorated with an nineteenth -century mural painting depicting the Trinity with the Madonna in Gloria and Saints. In 1828 the Cascinesi Giuseppe and Luigi Bacchini decorate the apsidal wall with wall paintings.\r\nThe elevation of the proposal parish dates back to 1842, at the request of the archbishop Parretti. During the Second World War the parish church is damaged by two cannon bullets, which however do not cause conspicuous damage.","rilevanza_stile_romanico":"The parish church of the saints Giovanni and Ermolao has a basilica plant with a Latin cross, with three naves, transept and side chapels. It constitutes one of the best examples of the Pisan Romanesque style developed in the area, with architectural elements that strictly refer to the major models. The facade presents a plant with asymmetrical salient, testifying to the double articulation of the internal volumes and the interventions that have succeeded the factory over time and that have led to various renovations. Architectural elements of different eras were added to the original Romanesque body body. However, the facade is the architectural part that preserves the original Romanesque configuration in a more intact way. The peculiar use of polychrome and lapid tarsie, in which the white of marble is joined by the gray of the blackboard stone, represents an uncommon example among the surrounding Romanesque rural parish priests.\r\nFrom a compositional point of view, the main prospectus is divided into a double order of blind arches, score by Marcapiano frames in Asciano's black stone. The lower order is characterized by eleven arches with variable dimensions, supported by seven pilasters and decorated with losangue elements. The main portal opens in the center, surmounted by a large bezel, while two secondary portals are located on the sides. The upper order is marked by three round arches and houses a buffered mullioned window in the center. The facade concludes the triangular pediment, marked by four marble columns and with a buffered central eye.\r\nThe wall paramento of the facade, like all the external walls, presents itself to be visible consisting of square councils of stone. The internal walls, on the other hand, are currently plastered. The side prospects of the church are characterized by numerous stone fragments, carved or engraved, reuse and inserted within the wall paramento of the church. For example, on the eastern side of the bell tower, near the left side, a sculptural element of bare is inserted which was traced back to the criticism of the representation of the head of Jupiter Ammon.\r\nThe tergal part of the building is characterized by a semicircular apse, however the result of a reconstruction of the mid -nineteenth century. The bell tower has a quadrangular plan. Remained unfinished, it is divided into two orders: the lower one consists of blocks of square stone while the upper one from bricks. The first order is equipped with large angular pillars and three pilasters on each side, which support a decoration with hanging arches. The second welcomes the bell -free cell cell, characterized by four mullioned windows in the shape of a mullioned window.\r\nInternally the parish is characterized by a basilica plant and is longitudinally marked in three naves, with a transept and semicircular apse. The naves are divided three of them as granite columns, surmounted by neocorinthian recovery capitals and supporting all sixth arches. In the side nave there are three side chapels, two on the right and one on the left.\r\nThe presbytery is raised of three steps compared to the rest of the classroom and ends with the semicircular apse, in which a large rectangular window opens. The pavement of the church is built, in some portions such as the naves, in terracotta while the presbytery and the chapel of the Madonna, on the right side, are equipped with marble pavement. In the upper part of the counter -fabed, the Cantoria is inserted with, in the center, the organ.\r\nThe coverage of the central nave consists of once in a lunette barrel. Instead, the coverage of lateral naves is made of cruise vaults. At the intersection of the main nave and the transept, the hemispherical dome is grafted, equipped with a cylindrical drum based on Pennacchi. The arms of the transept have a cruise vaults, while the apse is characterized by a hemispherical basin. The two left chapels are covered with a cruise vaults, while the one on the right from once to sail. The baptismal font is located in a chapel located in the initial part of the left nave.\r\nAttributed to the sculptor Biduino or his school, it consists of a monolithic block of white marble from San Giuliano. It has a quadrangular shape, with an immersion tank in the center. The faces of the baptismal font have sculptural depictions linked to the baptism of Jesus. The scene has divided into five niches that open between columns adorned with floral motifs and which frame figures rendered to high -relief","come_arrivare":""},"geometry":{"type":"Point","coordinates":[10.512929934420969,43.72611554787518]}}