Chiesetta di San Antonio a Biaza

Medieval chapel of San Antonio in Biaza di Brenzone s/G

Despite a legendary tradition that suggests it already existed in the early medieval period as a military chapel, the origins of the church of Sant’Antonio Abate in the district of Biaza are not known for certain. Given the fresco depicting Saint Christopher on the southern external wall, dating back to around the second half of the 14th century or at most to the early 15th century, its presence can nonetheless be confirmed at least from those centuries; consequently, the church is mentioned in the will of one Giovanni son of Benedetto from Brenzone, drawn up on April 9, 1421, in which the testator declares his wish to be buried in the cemetery adjoining the church.

It must have served the spiritual needs of the people of Biaza, as also evidenced by the presence of the small cemetery, and indeed, in a placement act dated October 1, 1456, in which the Veronese bishop Ermolao Barbaro appointed don Stefano de Zebetus as rector of the parish of Brenzone, it is expressly referred to as a chapel dependent on the parish. Later, it was endowed by the notable Brenzone family, who in the 16th century held the right of patronage over it, that is, the right to propose the candidacy of its chaplain, for whose maintenance they committed themselves. In particular, Paolo Brenzone son of Delaido had a funerary monument erected inside the church, where in his will dated October 8, 1503, reiterated on September 27, 1505, he declared his wish to be buried alongside his wife Laurezia.

The building that we see today is essentially the original one, constructed according to the criteria of Romanesque architecture: the façade is oriented to the west, despite projecting over a cliff, and thus the only entrance opens on the southern side, where the aforementioned fresco with the image of Saint Christopher is also found; next to it stands the contemporary bell tower, with broad single-light windows illuminating the bell chamber.

The interior features a stout nave that leads to a semicircular apse and the only altar of modern design, adorned with a painting from the early 19th century depicting Saint Anthony Abbot in adoration of the Virgin. On the northern wall, large fragments of the paintings commissioned between the late 15th century and the early years of the 16th century by Paolo Brenzone remain, whose name is still legible alongside that of his wife, Laurezia, presumably in honor of the funerary monument now lost. What is visible displays the heraldic motif of the Brenzoni house and a group of devotees at the feet of the Virgin with the Child.