COMUNE DI PASTURO
In the Valsassina basin, on the eastern slopes of the Northern Grigna or of Montecoden, there is the village of Pasturo, whose name seems to indicate the fertility of the pastures of the plain and the mountain, which are still among the largest in the province. The vast circle of clays, marls and moraines is deeply engraved by the course of the Pioverna stream, which just north of Baiedo, a hamlet of Pasturo, creeps in between two precipitous rocks, about 300 metres high at the bottom of the valley: it is the Chiusa barrage, where the road crosses the stream with the ancient bridge of Chiuso, a strategic place in the history of the valley.
From the cliffs above Baiedo, reddish rocks of verrucano, he says that the devil detached a large boulder dragging it further south in the locality of Alghero, where there is the Corna del Peccato, perhaps an erratic boulder transported by a branch of the Adda glacier.
According to tradition, on it are visible the footprints of the devil’s paws, so committed to conquering a soul that had challenged him, air of legend also surrounds the cliff on which stood the fortress of Baiedo, where sporadic findings of arrowheads and ceramics from the Neolithic period suggest the first settlements Valsassinesi: a set of bronzes also attests to the civilization of Golasecca (VI.V century B.C.), the castle together with the “curtis” Bruscanti (identifiable in the meadows Buscanti sul Pioverna), was owned in 975 by Countess Ferlenda di Lecco.
In the mid-fifteenth century there stood a formidable fortress Sforza, which was manned by Simone Arrigoni when the French troops invaded the duchy: he was captured treacherously in 1506 and executed because he had conspired for the return of the Sforza. Leonardo himself, who remembers his terrible end, seems to have drawn from that strong design for his military projects, before it was almost entirely destroyed in 1513.
Baiedo was the home of the Arrigoni di Vedeseta, who had considerable personalities in Milan, including Pietro Paolo, shrewd president of the Senate in the mid-sixteenth century.
<brTwo religious buildings in the hamlet. The church of S. Pietro Martire, perhaps of fifteenth-century origin, preserves a Baroque altar of excellent workmanship, enriched by a Martyrdom painted in 1691 by Ludovico Vignati, and frescoes painted in 1886 by Luigi Tagliaferro and Antonio Sibella. The church of S. Andrea is older, even if it has been much remodelled. It stands near the cemetery, where the kind poet Antonia Pozzi (1913-1938) is buried, whose compositions were collected and published posthumously by Eugenio Montale under the title of “Parole”. After crossing the icy Grinzose stream, you enter the ancient nucleus of Pasturo, once known as the Church. There are numerous rustic buildings, which still have the characteristic wooden loggias and portals decorated with coats of arms among which the medieval ones of the Zucchi stand out. On a large building located in via A.Manzoni n.89, you can still admire a fresco of the Madonna and S.S. Sebastiano and Rocco, painted in 1583 by Francesco Cironi Valsolda. The parish church of San Eusebio, rebuilt in 1597, houses baroque stuccoes by Aliprandi, paintings from 1645 by Aloisio Reali and a marble altar by Carlo Giudici, on either side of the altar two paintings by Aldo Carpi, representing, one the Funerals of the Virgin Mary, the other Jesus blessing children; these paintings were commissioned by the lawyer Roberto Pozzi, podestà of Pasturo to honor the memory of his daughter: the poetess Antonia. The children’s chapel and the Stations of the Cross were frescoed by the Bellanese painter Giancarlo Vitali (1960). The organ, built in 1849 by the Tornaghi organ workshop of Monza, is placed on a choir and enclosed in a valuable walnut case, the work of pasturese Bonaventura Pigazzi. The frescoes on the façade are by Tagliaferri. The previous church, mentioned in the thirteenth century and became a parish church in 1343, developed perpendicularly to the present one. The Gothic apse, now used as a baptistery, remains of it, while the facade with courteous frescoes covered with shafts is incorporated in a room adjacent to the mighty bell tower. Of considerable interest inside is a Crucifixion of Giotto, Saints of the late fourteenth century and a rare scene from the history of St. Julian the Hospitaller of the mid-fifteenth century. After the town hall square, the oratory of San Giacomo and Madonna della Cintura anticipates the nucleus called della Crotta; the building has a painting by Reali (1660) depicting the Madonna della Cintura, the Saints Carlo, Antonio da Padova and Agnese; in the background the panorama of the town. The stuccoes of the Aliprandi family that adorn the presbytery (1670-1673) are very rich. Of exquisite workmanship is an altarpiece ‘of corame in relief’, commissioned by the parish priest Lorenzo Ticozzi in 1667, depicting the Madonna, St. Peter the Martyr and St. Andrew.
The statue of the Madonna della Cintura