L CAPITÉL
L capitél, inte l descóre ladin de l luóch, volea di n piciol autariól frabicà a la incrośadura de cuater strade: Bernart, Marin – Selva, L Sech (da dóe che la strada dia du dérta a la incrośadura, par di inavànt dérta incóntra Bernart) e Santa Fos-cia – Pescul. L capitél l èra inte n luóch pì bas de adès. Inte l 1973, defati, can che la strada prinzipàl Selva – Pescul la é stada ślargiàda fuóra, l é stat tramudà e remetù in sèst.
L capitél, de l 1600, l é stat frabicà par n at de devoẑión de na femena. In séguito a na donaẑión, na faméa la cognéa segurà de impiẑà n lumìn a òio duc i sabi e de mantegnì l frabicà. Par tant témp, l capitél l é stat duorà par la celebraẑión de la mésa e par di su rośàre, speẑialménte l més de mai.
L èra abelì con fior e n piciol autà con tovàie. L capitél, tant importante par l sentimént religiós, l èra anca apreẑà par le tante piture su i paréi fate da n artista che no se conós.
L DEDAVÀNT DEFUÓRA l aéa da ése dut scuèrt de piture. Se véde ncóra bén l Anunẑiaẑión: a man ẑancia, l àndol de l Anunẑiaẑión, vestì de ciaro, có le ale davèrte, l varda Maria, da chelàutra banda, a man dérta de l arco ndóe che se ven daìnte. La Vèrgine, có l vélo e in muót de di su oraẑiógn, come che se véde daspés inte àutre piture de l témp, la é indośegnàda apéde n legìo. Su àut, Dio Pàre, có i braẑ davèrc, l manda la colómba de l Spirit Sant che se intravède sóra la ciéf de vólto. Anca du bas l dedavànt defuóra l aéa da ése dut piturà, ma resta domai menùẑole, come l vìs de n sant có la barba, sóta i piéi de l àndol.
DA INTE se auza la Madòna có l Tośàt in grém, intànt che la tén inte la man ẑancia n pèr de pasiénze de i Càrmegn, sóra na ragéra soraindoràda, dói andoléc i la incoróna. A man ẑancia e a man dérta de Maria se luóga, in órden, San Duàne Batista, có la crós de la proẑesión e la scrita “Ecce Agnus Dei” e n sant màrtire, cosita ricognosù par via de la fuóia de palma che l tén inte la man dérta. Vestì con na tònega soraindoràda, fórsi se trata de San Laurénẑ: par ncóra de podé intravéde, tegnùda có la man ẑancia, part de la gardèla, strumént de l só martirio. Su i dói paréi, l luóch l é spartì in archi tegnùi su da colonde dentìle e, inte le nice, se luóga àuter sanc. Da man ẑancia, Santa Lùẑìa, che la tén na scudèla con inte i suói vóge, vén daré San Ròch, vestì da pelegrìn (pistòch e mantelina), intànt che l tira via l vestì da l galón par fa véde la piaga de la pèste da la cal l é varì par miracol. Su l paréi roèrs l é piturade dói sante che difiẑilménte se desferenẑia.
Su l ẑelór i é giusto incolorìi i cuater evangelisti, ogniùn có l só segn e, intamèz, co n ẑérce metù intór, na crós greca có la scrita IHS (Iesus Hominum Salvator, Gesù Salvadór de i Ómegn).
La fornidura de l capitél, creàda intór la metà de l XVII secol, l é vuóra de n artista che no se conós, fórsi ruà da le valade ladine de l Tiròl, che l à lasà in Val Fiorentina imancol àuter dói laóri che se pensa che i sie stai fac da él parcìe che la man soméa propio la stésa: l grant San Cristòfol su l dedavànt de la giéśia de Santa Fos-cia e la pitura de na Madòna lauretana con Tośàt tra i sanc Duàne Batista e Fos-cia, su l dedavànt de na cèśa inte Pescul, de l 1651.
L Unión Ladign da Selva l à provedù, inte i agn 2014 – 2016, a la conservaẑión de l capitél có l refamént de l cuèrt e la sistemaẑión de l defuóra. Daìnte l é stat metù na statua de la Pietà, intaiàda inte l légn de zìrum da l artista de l luóch Renzo Nicolai.
“L Capitel”
In the local Ladin dialect, “L Capitel” is referred to a small chapel erected at the intersection of four roads: Bernart, Marin-Selva, Al Sech (from where the road descends directly to the intersection, continuing straight towards Bernart), and Santa Fosca-Pescul. The structure was originally positioned lower than its current location. In 1973, due to the enlargement of the main Selva-Pescul street, it was relocated and restored.
“L Capitel,” built as an act of devotion of a woman, dates back to the 1600s. As a result of a bequest, a family was responsible for lighting an oil lamp every Saturday, as well as maintaining the structure.
For a long time, its function was as a chapel for Mass and the recitation of the Rosary, especially in May. It was adorned with flowers and an altar with tablecloths.
The little chapel, very significant for its religious purpose, was also appreciated for its several frescoes, work of an unknown artist.
THE EXTERIOR FACADE:
It was meant to be entirely covered in frescoes. The Annunciation is still clearly visible: on the left, the announcing angel, dressed in light colors with outstretched wings, is facing Mary, positioned on the opposite side, to the right of the entrance arch. The Virgin, veiled and in a prayerful posture, as often portrayed in other contemporary paintings, is kneeling beside a lectern. Above, God the Father, with open arms, releases the dove of the Spirit, whose shape is still faintly visible above the keystone. The lower register of the exterior facade was also supposed to be entirely painted, but only fragments remain, such as the face of a bearded saint beneath the angel’s feet.
THE INTERIOR:
Dominating the space is the Madonna with the Child in her lap, while she holds a pair of scapulars in her left hand (Madonna del Carmelo), set against a golden radiant background. Two cherubs are crowning her. To the left and right of Mary are Saint John the Baptist, holding the processional cross and the inscription “Ecce Agnus Dei,” and a martyr saint, identifiable by the palm leaf he holds in his right hand. Dressed in a golden dalmatic, he is perhaps Saint Lawrence: it still seems like to catch a glimpse of part of the gridiron, held in his left hand, which was the instrument of his martyrdom.
On the two walls, the space is divided into arches supported by slender columns, with niches containing other saints. From the left, Saint Lucia, holding a bowl with her own eyes inside. Then, Saint Roch, with the typical attributes of a pilgrim (staff and cloak), pulling aside his garment to reveal the wound of the plague from which he miraculously recovered. On the opposite wall, two saints difficult to identify are painted.
On the ceiling, the four Evangelists with their symbols are depicted, and in the center, surrounded by a circle, there is a Greek cross with the inscription IHS (Jesus Hominum Salvator, Jesus Savior of Men).
The decoration of the chapel, realized towards the middle of the 17th century, is the work of an anonymous artist, possibly coming from the South Tyrol valleys. This artist left at least two other works in the Val Fiorentina, attributed to him due to stylistic similarities: the massive Saint Christopher on the facade of the church of Santa Fosca and the painting of a Lauretana Madonna with Child between Saints John the Baptist and Fosca, created on the facade of a house in Pescul, dated 1651.
The Union Ladign da Selva took care of the structure between 2014 and 2016, restoring the roof and arranging the external areas.
Inside the chapel has been placed a statue of the Pietà, carved from Swiss pine wood by local artist Renzo Nicolai.