The parish church of Aritzo is extremely sober and elegant in its architectural lines, with its beautiful bell tower, the compote façade and the windows to conch, harmoniously distribute along the aisles. The inside, adds to the elegance of the lines, coherent with the outside, a great suggestion that  invites to the concentration and the prayer.

To the beginnings of last century (1914 -1919), being Rector Giovanni Stefano Angioni (1877 -1926), the church was submitted to a radical restauration. The Cavalier Antonio Arangino financed the whole work. The planner and manager of the jobs, the engineer Riccardo Simonetti of Cagliari, he was inspired by other famous churches of  Sardinians of the XIII° century, churches on the type of St. Pietro of Sorres in Borutta and of St. Pantaleo in Dolianova.
The ancient church was built in a Gothic-Aragonese style and went up again to the centuries XIV° and XV°. A look to the façade allows to observe that where it has beginning the line of the cement - few above the portal and to the height of the clock in the bell tower - there it has term the ancient part of the church.
Above the entry door, we can still admire, faded by the time and by the bad weather, the Fresco of St. Michele Arcangelo, made by the painter Antonio Ghisu of Cagliari during the year 1919.

Overcome the portal and the compass, entering in the church we can dip in an atmosphere of deep religiousness.
On the left, the first chapel we can see, dedicated to St. Antonio Abate, give hospitality to
the graves of Antonio Arangino and his wife Marianna Vargiu De Arco, patrons of Aritzo that handled the remaking of the church.
It follows the chapel of the "Sacro Cuore". Under the mess of the altar it is visible the simulacrum of the "Blessed Sleeping Virgo", (Nostra Signora 'e Mesaustu).  On the right wall there is a cloth of the painter of Aritzo A. Mura (1902 -1972), representing the meeting of Jesus and Maria on the street of the ordeal.

The third chapel gives hospitality, besides the statue of St. Francesco, the  beautiful cloth of Antonio Mura; "St. Ignazio da Laconi", the Franciscan  religious man, secular brother, scientist and "taumaturgo": his face is dug by the vigils in prayer and re-ignited by the sun of the roads of Cagliari. He is rappresented blleeding by the ardor of the faith, hot and simple.

More hidden it is the chapel of St. Giuseppe, that closes the aisle. Here it is situated the altarpiece reppresenting  the crucifix, other famous work by A. Mura, realized in the 1944. On the presbytery the greatest altar in marbles policromi, a job by Domenico Franco, architect in Cagliari, realized between 1812 and the 1816. In the central niche there is the statue of St. Michele Arcangelo, titular of the church.
Above the altar and to the sides of the same one, there are the arc and the capitals made in friezes, (century XIV°). Behind the altar  there is the apse with groin vault, groins and key of the time with low relief of S. Michele.
In the area of the presbytery it has currently put the valuable reeds 1739 organ, recently restored.
In the aisle of right beside the presbytery, there is the chapel of St. Cristoforo. The statue of the saint, 190 cm
tall, strikes for his strong expressive position. The statue made in polychrome wood , is judged by the critics "of thin execution in its naturalistic surrender of the modeled one, in the gilding and in the cwe colors." Dated 1606, the  statue is attributed to Antonio Gallo of Neaple. We can notice the influence of the sculpture of Siville, particularly of that of Juan Martinez Montañes. Classical suggestions are not absent as those of the marmoreal group of Laoconte.  This statue is considered as one of the of the 1600 most beautiful statues in Sardinia.
Continuing to bashful we find the chapel of the Rosary with another great cloth by A. Mura. The serenity of the Christian faith of the artist, relives in the beauty and in the majesty of the face of the Blessed Virgo Maria and in that of the saints Domenico and Caterina and of Pope Giovanni XXIII°. A. Mura loved to make testimony to Aritzo choosing among its people and particularly among its children the models for hissaints and for his cherubs. The work is of the year 1968.
Other two smaller works of A. Mura enrich the chapel. On the left side there is the one named "Supper of Emmaus" and on the right side a dramatic "Deposition of the cross" called "Iscravammentu."

The following chapel is that of the "War Memorial" because of the headstones that make memory of the dead fellow townspersons of the two wars of the '15-'18 and of the '40 -'45.
The chapel however is devoted to the Pity. It is venerated , in fact, Mother Mary in the action to welcome on her knees her Child just deposed by the cross. The wooden group polychrome is a work of unknown carver, probably a guy of Neaple of the XVIII° century, belonging to the school of Giuseppe Sanmartino. The expressive strength of the work is of great effectiveness: "notable in the modeled one and exemplary in the anatomical realism." From this chapel we can acced to the bell tower. The harmonious bells respectively go up again to 1605 (great bell), 1651 (school, bell), 1736 (bell "of the Mercy), 1855 (bell "de sa cheda").

The small chapel of the baptismal source closes the itinerary of the visit inside the church. It is important over that for the sacredness of the place, for the traces of the antiquity of the church. Its "architectural elements" - arc and capitals - are all  that remains of the whole right aisle, that had to be in ancient constituted from chapels with arcs to full center, going up again the year 1000.
Also the battery of the blessed water, it is beautiful and ancient (sec.XVI°). Aloft above the battery a marmoreal headstone, written in Latin, remember sthe year of the Dedication of the "solemni ritu", happened in solemn rite! It was the day 19 of September of the year of the Lord 1745, the same year when the Cathedral of Oristano was consecrate.

Before leaving the church let's have another look to the church. Payfull of attention are the beautiful chandeliers, particularly those to wall , made in beaten iron and brass, representing shoots of grapevine. They have been realized, on sketch of Antonio Mura, from the artisan Peppe Acca from Aritzo.
A standstill in the sacristy immediately offers us to be able to admire two beautiful furniture for you furnish and sacred hangings of the XIX° century. That smaller is dated 1851. Both are work of the carpenter Francesco Zaccheddu.
On the left wall there are two simulacris of St. Michele Arcangelo. The greatest and ancient of the two, datable to the slow Six hundred, of unknown author, it belongs to the Neapolitan school with the usual Spanish influences. Approximate in the anatomical structure but not deprived of boldness, it has a splendid damask style. The smallest  simulacrum, in polychrome wood, is a work of an unknown not Sardinian artist of the second half of 1700, and it is very vivacious and elegant in the drape.

In the sacristy they are preserved also other statues of notable merit.

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