Cruciform basilica building, oriented, on a significantly raised site compared to the street level. The neo-Romanesque complex is articulated in the basilica plan with three naves, two smaller apsidal arms, and an apsidal transept with an external annular ambulatory; the arms join at the height of the presbytery with an octagonal tiburium. Adjacent to the transept are the two sacristy bodies of lower height. The first church building preserves the portion of the pentagonal presbytery and the sacristy, located to the south of the current building and facing internally, embedded in the wall of the side nave behind the bell tower. The bell tower incorporates one-third of the church’s southern facade. The wall cladding of the entire church building is made of rough gray stones and bricks. A molded cornice with stone brackets runs along the entire eaves of the building. The tiburium is decorated under the eaves with a crown of round arches and corner columns. The facade is asymmetrical: the entire facade of the southern side nave is incorporated into the bell tower. The central part, reinforced at the top by two small pillars acting as vertical brackets, is decorated with a rose window. A second rose window is on the facade of the side nave. The molded stone portal is decorated with a round lunette with a central mosaic. The interior is divided by five columns along the main axis connected by round arches. A slight cornice runs above up to the entrance of the presbytery. The ceiling of the central nave is covered with wooden coffers with a central painting; the side naves are covered by cross vaults. The axes are connected by the cylindrical tiburium. The presbytery, raised by three steps, features a round arch and two upper triforiums where the organ pipes are inserted; a deep pentagonal apse is surrounded by the ambulatory rhythmically marked by four columns connected by round arches. In the side arms, two blind rose windows open, and a door on each side leads to the respective sacristy. The window system includes three triforiums per side in the clerestory, one triforium per side in the arms, three pointed lancets in each apse of the side arms, three pointed lancets in the upper part of the apse, four round lancets along the ambulatory; eight pointed lancets in the tiburium. The sacristies have two biforas on the ground floor and two lancets on the first floor. The original building has two Gothic biforas respectively to the west and east. In the counter-facade, the wooden entrance vestibule. The baptismal font is placed inside the original church. The flooring is in bichrome tiles, gray and black, creating a central aisle and a checkered pattern in the side portions. The current building has a single hall; the external and internal walls are covered with cells for the bones of fallen soldiers. The entire perimeter of the building, except for the back, is surrounded by a colonnaded portico in gray Carnic marble, conceived during the last intervention on the structure in the 1930s.
The original structure was also likely a single hall, and its location on the Fontagnle stream did not change after the landslide of October 28 (or 29), 1729, which forced the inhabitants of Timau to move the village to the left bank of the Monte Croce stream. An expansion was attempted in 1835, when the choir’s position was reversed due to humidity, but the project failed due to lack of funds. The works were resumed and completed between 1906 and 1910, thanks to the economic remittances of migrants. It was set on fire on October 28, 1917, during the First World War, and rebuilt as a military shrine between 1921 and 1923. Restructured again, in 1937 it definitively became a ossuary. Description: It is the crucified Christ with Saint John on the right and the Virgin on the left. The Christ is crowned with a gold crown and embedded stones. The painting, based on the reproduction that remains, could date back to the mid-18th century; the image was indeed destroyed with the entire sanctuary in the fire of 1917. The depiction of Christ, but with two praying angels on the sides, was taken up in the fresco on the external facade of the sanctuary. Entry into use: between the year 1750 and the year 1750 Epiphany: Image of the crucified Christ with Saint John and the Virgin. Description: Following the fire of 1917, the traditional image was replaced by a bronze group with the crucified Christ at the feet of a dead soldier, a work from the 1920s-1930s by the sculptor Giannino Castiglioni. Entry into use: between the year 1937 and the year 1937 Epiphany: The crucified Christ Image: Statue
Original location of the Sanctuary: Along the internal walls of the sanctuary. Notes on the collection: There are only two surviving painted wooden tablets, dating back to 1754 and 1769. Some wooden prostheses were burned in the fire of 1917. Typology of ex-votos: Painted tablets, Real or represented prostheses Reference to publications or printed descriptions: The two tablets are reproduced in Moro pp. 57-8, plates XV-XVI. Color reproduction and description of the ex-voto of plate XV in the card 35 of Sgubin 1994.

1377  (construction of the entire property)

The building was constructed in 1377. Timau is one of the many communities on the southern Alpine slope that arose between the 13th and 14th centuries thanks to migrations of populations from the northern slope. Even today, the main linguistic code is Timavese, which distinguishes its inhabitants from the rest of Carnia. Probably the dating, reported in an inscription next to the main altar, coincides with the period of settlement in Timau of these people, who, based on linguistic evidence, came from Carinthia.
Adagio recorded in Cleulis: Signr da Cleulas, Crist da Tamau, Madone di Licau (Nicoloso Ciceri, p. 400, n. 124).
The first testimony of the sanctuary perhaps dates back to 1284, coinciding with the settlement of the Timavese community. Probably a greater attendance of the sanctuary occurred from the second half of the 18th century, when commercial relations between the territories of Central Europe and Carnia reached their peak; the last remaining ex-votos date back to this period. The devotion of neighboring villages, particularly of Upper Carnia (Collina, l’Incaroio, Val Pontaiba …) continues even today, even after the overlapping of the cult with the military ossuary (1937). The modifications and numerous interventions on the building (1729, 1835, 1910, 1923, 1937) prevent us from recognizing its original layout. The war events have certainly marked the population of Carnia, and particularly that of Timau. The necessity declared by fascism to honor the dead for the homeland, and the initiative of the parish priest Gio Batta Bulfon favored the creation of the military ossuary in the sanctuary of Christ.
Numerous communities from both slopes went to the sanctuary. In votive processions, they probably reached Christ together with their parish priest. The care was still the responsibility of the chaplain – parish priest of Timau, subject to the parish priest of Paluzza.

Via Monsignor Gorizizzo, 5, 33026 Paluzza UD, Italy