San Giusto a Fortuna

The Church of San Giusto in Fortuna, in the municipality of Scarperia e San Piero, is an authentic testimony of the religious and artistic history of Mugello. Although its exact origins are not known, it is evident that by the beginning of the 12th century, the surrounding territory was under the jurisdiction of the Florentine Bishops, who increased their properties in the following decades. A document from 1225 attests to Bishop Giovanni's acquisition of additional lands in the area. The church is mentioned in the thirteenth-century decimari, and its patronage belonged to the people, although its function was closely linked to local noble families, such as the Medici, who owned land in the parish park without exercising patronage. The church's history intertwines with that of numerous prominent figures, including the Vallombrosan monk Simone da Gaville, who visited it in 1370, indicating a phase of religious management linked to the Vallombrosan Congregation. After this episode, the church once again came under the control of the Bishops of Florence, with Monsignor Angelo Acciaiuoli, who in 1385, united San Giusto with Santo Stefano in Coldaia. This act strengthened the church's position in the religious and territorial community. In the fifteenth century, a significant restoration intervention transformed the church thanks to the contribution of the renowned sculptor and architect Bernardo Rossellino. His most famous work in this context is a polychrome terracotta bas-relief depicting the Madonna and Child, which was displayed in the church until the late nineteenth century when it was transferred to the National Museum of the Bargello for preservation. Over the centuries, the church underwent numerous other interventions, with significant restorations in the eighteenth century that radically transformed its structure. From 1775, new restructuring works were carried out, altering the medieval appearance of the building, sparing only the upper part of the apse, which today remains the only sign of its medieval origin. In 1919, after an earthquake, new restoration works were necessary, followed by conservative interventions between 1992 and 1993. The church, with its simple yet elegant shape, now houses numerous works of significant artistic value, including the Madonna dell'Aiuto, a copy of the famous painting Mariahilf by Lucas Cranach, perhaps representing the only version of its kind in Mugello. The presbytery is enriched by a finely carved wooden Crucifix, while the main altar respects the original orientation towards the East, a rare aspect to find in post-Council Mugello churches. Among other works, the church once housed a glazed terracotta attributed to Antonio Rossellino, representing the Virgin and Child, an extraordinary example of Renaissance sculpture. This was later transferred to the National Museum of Florence for preservation. The church also retains a beautiful square bell tower with a four-sided roof, adding a touch of elegance to the structure. Not only the church, but also the surrounding area tells a fascinating story. The territory, once owned by the Florentine Bishops, is now enriched by a historic villa, once belonging to the Pitti family of Florence, suggesting a connection between the church and this illustrious lineage.

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