Tornano i mercoledì della Corriera a Luzzara
L'appuntamento è per mercoledì 28 giugno alle ore 21:30, per ascoltare i pezzi più conosciuti che hanno fatto la storia insieme al gruppo musicale N'EURO e i MONTANA - Spaghetti Western Band.
Also known as the church of the former hospital or church of the “Conventino”. It was built at the end of the 15th century by the will of Caterina Pico - Marquis of Luzzara Rodolfo Gonzaga’s wife. It was nearly destroyed to the foundations and reconstructed between 1764 and 1771. Fortunately, the 15th-century apse has been left intact. The sacristy hosts the remains of a funerary monument - dedicated to Luigi Gonzaga, who died in 1570 - partially destroyed by a fire in 1918. In the upper part of the monument, in the very centre, it is possible to admire the Gonzaga coat of arms - borne up by two putti and dominated by a two-headed crowned eagle. The monument stands on an architrave borne by two large statues: a Caryatid and an Atlas. From the centre, under the ledge and borne by a lion’s head, a fruit festoon passes over the Caryatids and descends towards the outer sides, up to the large corbel of the base, where two eagles are placed. The monument also housed a plaque dedicated to Luigi Gonzaga. Frescoes of historical and artistic interest have been recently discovered under the adjacent porch.
The old Gonzaga palace was built around 1481. Originally - with its auxiliary buildings - it occupied the entire area south of the Luzzara Castle, between the Parish church and the actual seat of the Town Hall. The war culminating in the battle that took place on August 15, 1702, though, caused the destruction of part of the building. After the Gonzaga, it served as a Public Palace for centuries, and then it was abandoned until the Unification of Italy.
It was probably built at the end of the 11th century, in Romanesque style, and renovated several times. It was rebuilt from 1676 in Baroque style - except for the apse, which is still Romanesque. In 2000, crypt excavations led to several findings, such as capitals, columns and frescoes from the original Romanesque building and shards dating back to the previous period. Inside, it preserves some 16th-century paintings, such as the altarpiece portraying the “Vergine col Bambino tra S. Giorgio e S. Girolamo” (Giuliesca School) modeled after a sketch by Giulio Romano kept in the Louvre Museum.
