Medole, Chiesa dell'Assunzione della Beata Vergine Maria

The "Chiesa Parrocchiale di Santa Maria Assunta" (Parish Church of Saint Mary Assunta) rises on a natural high rise in the centre of Medole, a gracious centre marked by constructions of Baroque design that are expressed in a series of interesting portals in white marble, with very differentiated designs that are ornaments of modest façades. The Parish is an elegant Baroque expression reminiscent of the late-Renaissance and erected around the 18th cent. (1750). The bell tower dates back to the first half of the 17th century, while the entrance staircase was reconstructed in 1950.
The interior, composed by 3 naves, divided by marble columns, decorated with stuccoes, hosts Baroque altars in marble, confessionals and pulpits in inlayed wood. It contains 2 great works of art: an altarpiece by Tiziano, "Il Risorto che appare alla Madre" (The Resurrected appears to his Mother) at the centre of the apse above the chorus and a statuary group of the Deposition, in the Baptistery. The Altarpiece of Tiziano was painted by the great Venetian artist at an old age and it seems he donated it to the Church of Medole in 1544. It has been there ever since. The inhabitants of the village managed to save it from the Napoleonic raids by burying it in the Parish. It returned to light in 1816. Stolen by unknown thieves in 1968, it was found after only 15 days. Following the restoration works it was given back to the church, where it dominates the apse, behind the main altar (in polychrome inlayed marble). The altarpiece is a work of notable prestige executed by an artist who was contended in his time by Emperors, Popes and nobles. The Statuary Group of the Deposition is composed of 8 figures in polychrome terracotta almost life sized and attributed to Guido Mazzoni (called il Paganino or Modanino, approx. 1450-1518, sculptor that realised numerous representations of the "Compianto sul Cristo morto" (Mourning of the Dead Christ). The work is a very clear example of popular realism and is inspired to the designs of other contemporary similar representations. It is not known if the statues disposition around the bloodless figure of the dead Christ is the original one due to the various transferrals undergone by the work.