San Pietro a Luco

The Church of San Pietro, located in the village of Luco di Mugello, is a sacred building of great historical and artistic significance. Once belonging to the ancient female Camaldolese monastery, it has crossed the centuries undergoing transformations that have enriched its architectural and decorative heritage. The church was founded in 1086, together with the Camaldolese monastery, and was solemnly consecrated in 1220. Over the centuries, it underwent numerous renovations, reaching its final layout between the 15th and 17th centuries. The expansion from 1473-1476, attributed to a student of Giuliano da Sangallo, introduced Renaissance architectural elements that still embellish the building today. In the 16th century, the church became a center of particular importance, so much so that it housed the famous painter Andrea del Sarto for a period, who found refuge here during the plague that struck Florence in 1523. His stay left a mark on the artistic enrichment of the church. In 1808, under French rule, the monastery was suppressed and the Camaldolese nuns were removed after eight centuries of presence. In 1871, the complex was transformed into a hospital for the Mugello area, a function it maintained until 1989, while the spaces adjacent to the church were assigned to the parish. In the following centuries, the building continued to be a reference point for the community, so much so that in 1930-1932 it underwent a radical restoration, in which Dino Chini, an artist linked to the historic Fornaci San Lorenzo, also participated. One of the most interesting elements of the church is the maiolica lunette located on the façade, depicting the Madonna with Child between two adoring angels. The inscription below states that it was donated in 1930 by the Traversi Barchielli family, probably as part of the church's restoration. The lunette, although not bearing distinctive marks, clearly fits into the tradition of Fornaci San Lorenzo, whose production in the thirties was inspired by the Renaissance style. The iconography of the central roundel seems to be connected to Donatello's famous Madonna Pazzi, enriched by a vibrant blue background and golden details that give brightness to the composition. Inside the church, until the mid-twentieth century, there were frescoes and decorations made by Dino Chini, unfortunately no longer visible today.

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