Churches, cathedrals and basilicas are a dime a dozen in Rome.
Most are beautiful. Some, not so much. Aside from these two differences, what sets many of them apart?
As I was walking down Corso Vittorio Emanuele II, it was getting dark and I had plans to meet a friend for dinner still some distance away. As I glanced at the building I was passing, I noticed that it was the Basilica of Andrea della Valle.
It would have to be a quick visit, but I was willing to walk back to my hotel a little faster or risk being a bit late for dinner with my friend, just to take a quick peak at this basilica.
The Basilica of Andrea della Valle’s origins date back to the Theatines, a religious order founded in the 1524. In 1582, the order was bestowed a palace and a small church with the obligation of building a large church dedicated to St. Andrew, the patron saint of Amalfi. The construction of this church was begun in 1590 and it was the desire of Cardinal Alessandro Peretti for the basilica to have the second largest dome in the city, behind St. Peter’s Basilica.
As the decoration of the basilica was undertaken, the decision of which artist would ornament the grand dome was a difficult one. Two artists were selected due to the inability of the Cardinal and the Pope to choose one over the other, with Dominichino assigned to the apse half dome and Giovanni Lanfranco to the main dome. The beautiful frescoes on the apse half dome leading to the main dome are what stopped me in my tracks when I entered the church. This is what truly sets this church apart from others.
There are exquisite chapels on each side of the basilica with works of art by important sculptors and painters, some, the pupils of masters, Bernini and Michelangelo. In fact, the Strozzi Chapel was probably designed by Michelangelo, although executed by Leone Strozzi. There are many Cardinals buried within these chapels as well as the bishop of Carcassone, France, Annibale Rucellai. The church also houses the tombs and cenotaphs of Popes Pius II and Pius III, the tomb of Giovanni della Casa, author of Il Galateo and the tomb of the martyr Saint Fortunatus in the Chapel of the Madonna della Purita.
It is important to check out the antique wooden crucifix in the Chapel of the Crucifix and the thirty-six stop pipe organ housed in the gallery. Built in 1845, it is still in use and can often be heard on weekday afternoons, when its organist practices.
And that was it.
As quickly as I came, I went.
Was worth being late for dinner? Absolutely!
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For all of my knowledge of the Eternal City, I was surprised that I did not know that this area existed and was surprised by some amazing finds!
The Portico of Ottavia, the Temple of Apollo Sosianus and the Theatre of Marcellus were remarkable discoveries in a city where I thought I had seen the majority of its architectural wealth!
Ascending the stairs, to the Via Montanara, after my visit to the Theatre of Marcellus, I began to walk towards the Piazza di Campitelli. A church on the left caught my attention.
It was still early…yes…I had time!
The church of Santa Maria in Portico in Campitelli is a church hidden on a side street in the Jewish Quarter. Built in the 17th century, on the site of a primitive church that was located here from 523-526, this ancient church was constructed to house an icon of the Virgin Mary, who was said to have miraculously appeared at the the table of a Roman woman who assisted the poor. It was believed that this icon played a major role in stopping a plague and has been carried in procession through the streets ever since.
It was almost dark as I glanced at the facade of the church, all lit up in the cold winter evening. Not positive that the church was indeed open, I tentatively stepped up to the entrance, and glanced around. The interior was a stark contrast to its exterior, dimly lit and no daylight illuminating its few windows. As I stepped inside, however, this obfuscated ambiance led to the mystery of this church…what would I find in the shadows?
My eyes were immediately drawn to the main altar, the berth of the much venerated religious icon that the church is known for. Decorating the sanctuary is an ornate, Bernini inspired altarpiece which captured every bit of my attention trying to decipher and appreciate every gold detail. Though I did not notice it forthwith, my eyes soon settled upon a very small enameled icon of the Blessed Mother and the Child Jesus, enthroned within the particulars of the artistry. This was the icon that Santa Maria in Portico in Campitelli is known for!
Continuing my investigation of the church, I first glanced upward at the magnificent dome which enhances the main altar and then moved on to the many chapels that line each side of the church. The chapels on the left are that of the Altieri and Capizucchi families, each containing amazing works of art including marble altarpieces, vaulted frescoes, funeral monuments. The second chapel on the left has a notable altarpiece depicting the Glory of Blessed Leonardi whose relic is located here. Saint John Leonardi, lived from 1541 to 1609 and is buried within the church. He was a priest and founder of the Order that still ministers to the church to the present day.
There are chapels on the right displaying paintings and stuccos and a chapel of the relics which allows access to the sacristy containing a portable Byzantine altar with micromosaic images of the Redeemer, the Virgin and St. John the Evangelist.
Other notable features include a Baptistery with two fifteenth century tabernacles, a ciborium and holy oils, monuments to Cardinal Nardi and Cardinal Bartolomeo Pacca and a splendid gold Baroque organ in the gallery.
Though the entire space is not an immense one, I thought that it offered a sense of elegance, a rich history and especially during the darkened evening hours, an air of secrecy. As I investigated each nook and cranny, I eagerly pondered what I would find and reveled in every treasure.
If your itinerary finds you in Rome’s Jewish Quarter, take a few minutes to lay your eyes upon the famous icon displayed above the altar and ask for protection from the Our Lady of Campitelli.
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The Roman Colosseum is a major landmark known throughout the world.
The Jewish Colosseum. Never heard of it…not as it is called and not by its actual name either.
For as many visits as I have had to Rome, this spectacular piece of architecture had never been on my radar, despite walking in the area many times.
The former monument once held 55,000 spectators and is visited by thousands of tourists and bordered by Arch of Constantine and the Roman Forum. It is one of the landmarks that most visitors to Rome aspire to visit, along with the Pantheon, the Vatican, the Trevi Fountain and the Roman Forum.
The Jewish Colosseum, or Theatre of Marcellus, a smaller colosseum, once held 13,000 spectators and is tucked away behind the Altare de Patria. Not many tourists actively seek it out, some merely stumbling upon it while walking a path from the Capitoline Hill area to the river.
Many, however, confuse the two.
Located in the Jewish Quarter of Rome, the Theatre of Marcellus is a bit of an impostor…well, only for those, not in the know! There are actually many differences!
Those of us who are familiar with the original, easily recognize the differences between the two, but it is easy to understand that many who are first-timers to Rome or see pictures of the theater may be easily confused.
The theater, erected in the 1st century BC, was originally conceived by Julius Caesar and then recommenced by Octavian Augustus after Caesar’s death. It was built on the remains of the ancient Circus Flaminius (221 BC) which was used as a marketplace and for assemblies and many porticoes and temples filled the area. At first glance, it appears to be quite similar to the Colosseum, with both being constructed with three floors of arcades, however, only the two-story fragment on the theater has survived the test of time and modern construction. Located in the Jewish Ghetto area of Rome, it has become known as the Jewish Colosseum.
As I walked along the Via del Foro Piscario, examining the Temple of Apollo Sosianus, it was surprising to see this lesser version of the structure that once hosted the mighty gladiator games.
It was impressive to see the Theatre of Marcellus at close range, however, the structure is not open to visitors and I had to be content to walk along its perimeter. As I made my way around the formation, however, I was bewildered to see that the arcades stopped abruptly. Instead of the characteristic network of arches, corridors, tunnels and ramps that form part of the structure, there were smooth walls and modern windows.
As I retraced my steps, to re-examine the facade, I began to notice the two-stories of arcades, not three. There were windows and a modern walls and windows topping the structure. Not at all like the Roman colosseum!
Of course, every city develops over time and some ancient monuments are destroyed or concealed when modernization occurs. The theater, which once hosted live performances, was reconstructed during the Middle Ages. The top tier of seating was removed and the residence of the Orsini was built atop the ruins during the 16th century.
What I was now seeing was the Palazzo Orsini and a series of apartments and behind the theater were more ruins next to the church of San Nicola in Carcere (added to my list of future churches to visit!).
Walking back to the open area and ascending the steps, I was rewarded with remarkable views of not only this impostor Colosseum, but the entire area of relics, including the Portico of Ottavia and the Temple of Apollo Sosianus.
How had I never know this existed?
I guess I am not alone, but more people should seek out this special area of Rome, rich in history and architecure.
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So, while in Rome, when a friend asked me to rent a car and drive to some nearby cities, I was tempted. Very tempted.
Problem was, I had promised my cousin that I would seek out some special rosaries in Vatican City that he had asked me to purchase!
What to do? What to do?
Always striving to keep my promises and pleased to have such an important errand for the day, I headed out into the beautiful afternoon in search of the religious treasures he was seeking. After many religious shops and several texts, I finally found what he was requesting, made the purchases and then walked out past St. Peter’s Basilica.
Not really having a plan for the rest of the afternoon, of which I still had much time, I headed toward the Tiber River and walked southeast, soaking up the warm sun, which was casting its brilliant rays on the swift moving waters. As I neared Tiber Island, I decided to take a left away from my original trek, not really sure where my path was leading.
Striding up the Via del Portico d’Ottavia an area of the city I had never transited, I encountered a large tour group standing in front of the facade of a lofty ruined structure. Not sure what I was viewing, I made my way down the ramp to study the signage and learned that what I was standing in front of was the Portico of Octavia, an ancient structure built by Augustus in the name of his sister, Octavia Minor after 27 BC. The structure was used as a fish market until the end of the 19th century and the colonnaded walks enclosed the temples of Jupiter Stator and Juno Regina as well as a library.
The church of Sant’Angelo in Pescheria is built into the ruins and as I made my way across the walkway, I entered this religious temple.
Famous for the ruined portico as its narthex, the church was originally dedicated to St. Paul and then later, St. Michael. Rebuilt during the Middle ages, the church was used as the headquarters for the Confraternity of Fishmongers. A reconstruction on the right hand aisle, for their use, resulted in the Chapel of St. Andrew, the patron saint of fisherman. Interestingly enough, the fishmongers became dissatisfied with their small chapel and built their own church next door, Sant’Andrea dei Pescivendoli, which is now deconsecrated. The chapel is one of the treasures of the church and decorated in gilded stucco and frescoed panels. The panels on the ceiling show events in the life of St. Andrew and fish are featured throughout. The panels flanking the altar, date back to 1598, and feature St. Francis of Assisi on the left and St. Francis of Rome on the right. You can also spot the Contrafraternity’s shield on the marble floor which features a deer, a pair of geese and a large sturgeon.
The left side aisle was once dedicated to Our Lady of Graces but is now graced by a modern crucifix decorated with a bronze sculpture. The altar contains an opening which allows a glimpse of the relics of the martyrs Cyrus and John of Alexandria which were brought from the church of Santa Passera in the 14th century. On the altar, you can also find the relics of the martyred Saint Symphorosa and her comanions.
As I turned to face the rear of the church, I was confronted with the gallery which houses the original organ installed in the 18th century. It is not in very good condition and therefore, unplayable.
The church now used by the Communita Maria, a Marian lay worshiping community, is often frequented by those visiting the ruins of the Portico. The front door is often not open, as it was on my visit, however, you can use the walkway to the left of the portico. This passes through to the Via Sant’Angelo in Pescheria, a dead-end street, where you can find the most commonly used entrance to the church on the right. This was the doorway that I exited and I made my way around to the front of the portico once again.
Heading down to the Via del Foro Pescario, I marveled at the ruins that littered the sides of the ancient street. On the right, I encountered the remains of the Temple of Apollo Medicus Sosianus, the Roman temple dedicated to Apollo, whose full name is derived from its final rebuilder, Gaius Sosianus. Some may recognize Sosianus as the person responsible for placing Herod on the throne of Jerusalem.
I gazed up at the only parts remaining of the temple, three columns that form the front right-hand corner of the temple, which was restored in 353 BC and 179 BC. The temple originally displayed six columns on the front, two at the side and seven more attached to the inner chamber wall. The chamber was once decorated with colored marbled and contained a large collection of marble statues, all relating to Apollo. Several relics from the temple can be seen in the Central Montemartini Museum.
Though I knew that I was near Palatine Hill and the Capitoline Museums, areas I was familiar with, I was struck that I had never encountered this little slice of history.
And as I turned to the right, my bearings were even more disconcerted.
The colosseum was here?
To be continued…
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Portico di Ottavia
Address: Via del Portico d’Ottavia, 29, 00186 Rome
When in Milan, everyone ensures a visit to the Duomo, the city’s wondrous cathedral.
There are, however, a great many other churches throughout the confines of the city limits, each with their own special notoriety.
Having made many trips to the Duomo, I have made it my mission to mark off each of the others on my map during my visits to Milan. One by one, I researched and chose carefully for the particularities of each. As I set out from my hotel, I made my way toward the the one that I had my eye on and it was actually just around the corner from the Duomo…Santa Maria presso San Satiro.
This Italian Renaissance structure was built from 1476 to 1482 and houses the early medieval shrine to Satyrus, brother of Saint Ambrose. Constructed on the site of a primitive place of worship, dating back to 879, the church was commissioned by the Duke Galeazzo Maria Sforza and designed by Donato Bramante. It was once an important pilgrimage site during the 13th and 14th centuries when word reached the masses that it contained an image of the Madonna that shed real blood when stabbed.
Though there are many interesting features, the one that everyone comes to see is the false apse, one of the early examples of trompe l’oeil. Working with a small plot of land within the city, there was not enough space to build the choir, the space behind the altar. The church’s dimensions had to be abridged, making the space awkwardly short. Bramante’s solution was to formulate an area by creating an optical illusion. As I walked into the space, indeed, there appears to be a real apse behind the altar, but as I made my way throughout the church and to the side of the altar, it was evident that it is only a relief applied to the back of the wall.
I must admit, I was so intrigued, I made three or four trips back and fourth from the entrance of the church to the side of the altar to compare what I was seeing.
After resolving my visions, I spent a great deal of time discovering the other treasures within the multi-naved church, including an image of Virgin with Child and Two Donors, the 15th century baptistry, several terracotta busts in the sacristy, an altarpiece of the Extasis of St. Phillip Neri by Guiseppe Peroni and outside, the Romanesque bell tower that dates back before the 1480s construction. Besides the main attraction, however, is one other major piece of artistic importance, the Cappella della Pietà, the chapel built in the 9th century to honor Saint Satiro, brother of Saint Ambrose. This chapel houses the 15th century terra-cotta Pietà and lovely Byzantine frescoes and Romanesque columns. As is throughout the rest of the church, the lighting is dim, but you can drop in 1 euro into the box so that the space will be illuminated.
The rich decorations throughout the church intrigued me as I wondered throughout investigating every niche. The ceiling of the main nave was golden and lent to the warm glow throughout and the beautiful tri-chrome floor under the magnificent dome was spectacular.
Exiting the church, I turned to re-examine the facade which remained largely unfinished, until the 19th century, due to disagreements between the architect and the executor Giovanni Antonio Amadeo. Tucked away behind the gates, on Via Torino, its quite easy to realize how many people would walk on by, mesmerized by lure of the great Duomo which lies a short distance away.
Don’t walk on by. Don’t go to the Duomo.
Step through the gates and discover this work of artistic and archaeological importance!
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Sitting on the floor of my childhood home, my brothers and I used to have major competitions to see who could build the best houses, the best cars or any other idea that caught our fancy. Sometimes we were quite successful in our endeavors…sometimes it was an utter fail!
My three children all played with LEGO and although they are now grown, we still have the boxes filled with small pieces stored away as they can’t seem to part with something special from their childhood.
Lately, it seems that LEGO are everywhere we look. A new Primetime television show highlights LEGO enthusiasts and their creations competing to be crowned LEGO Master. A LEGO exhibit, The Art of the Brick, is touring the world (currently in Los Angeles) and highlights more than 100 original sculptures and re-imagined versions of some of the world’s most famous art masterpieces.
It was the knowledge of The Art of the Brick that prompted me to trek across Milan to visit the latest LEGO exhibition, I Love LEGO that was being hosted in Milan’s Museo della Permanente. It was a rainy day…the perfect kind of day to spend indoors enjoying an art exhibit and I was excited to see what this one offered, knowing that Art of the Brick had been in Milan during the past few years.
Museo della Permanente
After paying my admission, I headed up the stairs to the exhibition rooms where there I was greeted with the first display…the Grande Diorama City. Consisting of 250,000 pieces, this city contains the Legoland Hospital and the Empire Brick Building (topped with King Kong) and a waterfront, a la French Riviera style, complete with small, luxury yachts that even Oprah would be tempted to book a holiday on.
Next on the agenda was a reconstruction of the Forum of Nerva, which was completed and inaugurated by Marcus Cocceius Nerva in AD 97. Though rather small, this figure was created with 80,000 pieces and looks like many of the buildings that can be seen in Rome. There are dozens of miniature soldiers and a tiny Julius Caesar-like figure!
Moving on, Space was the subject of the next diorama. Though the first two peaked my interest for their originality, I was a bit disappointed with this one. Consisting of only 12,000 pieces, it was laid out like a landing strip with individual space ships and vehicles laid throughout. Maybe some people can not build space ships, however, I felt that particular display had no originality, most of it looking as though it was constructed from store-bought kits.
The exhibit continued through a small, purple room, lined with pictures frames made of LEGO bricks highlighting famous works of art made in the LEGO people style…think Vermeer’s Girl With a Pearl Earring, La Giaconda’s Mona Lisa and Jan van Eyck’s Portrait of a Man in a Red Turban.
Partitioned into three sections was a large room containing the next three exhibits. First, I studied the Pirate Diorama, another sad model that only incorporated 12,000 pieces and looked like it was also assembled from store-bought kits. There were two pirate ships, an island filled with palm trees and an alien-like octopus…or so I thought that is what it was.
In the next section was the Castle Diorama built from 250,000 pieces. This one at least appeared to be original and interesting to investigate the areas of the castle’s grounds.
The final section, was called the Eyrie, a massive fortress inspired by the television series Game of Thrones. This immense piece took two years to complete and covers a surface of nine feet, while the actual piece is almost six feet tall. There are many alcoves and openings to discover in the fortress and I was really able to appreciate the ingenuity and imagination required to build such a piece.
On I proceeded…
To the LEGO playroom?
Okay, I thought, this must be the pit stop for kids to duplicate what they have seen before moving on.
But…there was the gift shop…and there was the exit!
Seriously?
I paid 13 euro to see seven LEGO exhibits with only a third of them worth the admission price! This was not what I was expecting! I had anticipated huge, original pieces and duplications of masterpieces (not paintings…full-scale replicas).
So, what’s a girl supposed to do?
I forced myself to do another walk-thru, went back to my hotel room and looked up the dates of The Art of the Brick.
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Address: California Science Center, 700 Exposition Park Drive, Los Angeles, CA 90037
Hours: 1000-1700, daily
Admission: Adults (ages 18-64), $19.75, Children (ages 4-12, 3 and under free), $12.75, Students (age 13-17 College Students with ID), $22.70, Seniors (age 65+), $22.70.
Truly one of the most devastating events of mankind, we need to see and constantly be reminded of the Holocaust, so that horror is never repeated.
Of course, everyone knows the story of Anne Frank. I have visited the museum dedicated to her memory in Amsterdam and have also visited the Holocaust museum in Washington D.C. I have also read many books on the subject and plan to visit some of the former concentration camps during my future travels. It is heartbreaking to realize how many perished during this time and the terror they must have faced, but education is important so that we have understanding and compassion for what transpired during that time.
As I was researching items of interest in Milan, I stumbled upon a museum which is relatively unknown to most tourists even though it is located a short distance from Central Station, the point of entry and exit to the city for both tourists and locals.
During the war, when the Jews were being rounded up and transported to the concentration camps, Milan Central Station was the point of exit for many Italian Jews.
Not a point of exit for escape…
A point of exit to their new existence…that of one in Nazi concentration and extermination camps.
The platform, which is located, out of sight, in the area below the main level of Milan Central Station, is where prisoners departing from San Vittore prison were loaded onto cattle wagons and sent to their demise.
Milan Central Station
Today, this platform has been transformed into a place where visitors can come to remember and gain knowledge. It is a symbol of the deportation of all Jews and other persecuted people who left their homes and cities in the same manner, never to return.
Entering the museum, I discovered a very modern space dominated by a long wall in the center. The word Indifference is engraved here, representing the reason why this museum was possible. At the top of the ramp, I entered the third level where I began the actual museum experience.
Twenty-four parallel tracks run through the center of the museum, once the area created for postal wagons, and display the original cattle cars which were used to cram thousands of prisoners inside for their expulsion between 1943 and 1945.
An extremely sobering experience, you can walk inside and through the cars to the opposite platform. Once inside these claustrophobic spaces, however, it is rather frightful to think about being jammed into this small car, shoulder to shoulder, with no food, water or fresh air. Although I wanted to pay my respects to the small memorials set up in each of the cars, I had to constantly walk out to the platforms to gather my bearings.
Heading into the dimmed corridor, I contemplated the wall which displays the names of the 774 Jewish citizens who were deported from this station to Auschwitz-Birkenau. Highlighted are the twenty-seven names of those who survived deportation. There are also many posters on the wall which describe many of the victims.
On the far end of the tracks is a unique meditation chapel and there are enclosed spaces for visitors to watch videos of holocaust survivors’ stories, although, if your Italian is not up to par, you will not get much out of it as there are no subtitles.
While visiting Milan, you will likely pass through Central Station at some point of your stay. The museum is located a short walk around the eastern side of the museum’s entrance and doesn’t require a large amount of your time. Take an hour or so out of your day to be reminded not only of atrocities of mankind, but of the bravery and perseverance of those around us.
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You’ve never heard of it? It is the basilica that plays second fiddle to Leonardo da Vinci’s masterpiece which resides in the adjacent refectory!
Most people do not trek across Milan in search of this church. They duck inside before or after the visits to the Last Supper or visit as a consolation when they cannot get tickets to lay their eyes on the famous painting.
I am here to tell you, however, even if you can’t secure tickets to the Last Supper, a visit to Santa Maria delle Grazie, next door, is a must. Years ago, when I was practically laughed out of the ticket office when I inquired about last minute tickets, I consoled myself with a visit to the basilica. Now considered a UNESCO World Heritage Site, it was constructed under the orders of the Duke of Milan Francesco I Sforza and completed in 1469. While the basilica contains some amazing treasures, it is the notorious painting, housed in the refectory of the adjacent convent that attracts thousands of visitors each year. Though the Last Supper is the main attraction, it is not to say that the church itself should be overlooked.
Taking decades to complete, the church was originally designed to serve as the burial site of the Sforza family, however Ludovico Sforza’s wife, Beatrice was the only member buried in the church in 1497.
Since I arrived extremely early for my visit to the Last Supper, I decided to take another look around the basilica I had visited so many years ago. As I entered the structure, I vividly remembered its beauty and all that it has to explore, however, the chapels on each side of the church are the definitely the highlights. Upon completion of the church, the most powerful families who were granted patronage of the chapels to bury their loved ones, then decorated each chapel with the artistry of the period’s masters and each is magnificent and unique.
The Chapel Atellani’s prominence is an altar-piece of the Virgin Mary with Child, St. Vincent Marty and St. Vincent Ferrer by Cariolano Malagavazzo dating back to 1595. The frescoes from the 17th century were painted by the Fiamminghini brothers and detail the the miracles by St. Vincent Ferrer and his martyrdom.
The Chapel of St. John the Baptist displays an ornate candelabra, an ancient organ and an altar-piece of St. John the Baptist admonishing a devotee painted by Marco d’Oggiono. The frescoes on the walls and ceiling were painted by Ottavio Semini in the 16th century.
The Chapel of St. Joseph’s altarpiece was completed by Tiziano’s disciple, Paris Bordon and highlights the Holy Family with St. Catherine of Alexandria.
The Chapel of St. Peter Martyr contains frescoes by Giambattista Lucini of St. Ludovico Beltran and St. Paul. The altarpiece is entitled The Martyrdom of St. Peter of Verona.
The Chapel of Conti (forrmerly Simonetta) offers an entrance gate of bronze, dating back to 1669, which was formerly the railing of the high altar until 1935. The altarpiece is a marble monument of the Virgin Mary received into Heaven and Eve at her feet, sculpted by Arrigo Minerbi in 1941. On the sides of the chapel are centographs of Senator Ettore Conti and his wife, Gianna Casati, by Francesco Wildt. Conti was the illustrious benefactor who ensured that Santa Maria delle Grazie was restored and rebuilt after World War II’s bombings damaged the church.
The Chapel of St. Dominic’s magnificent altarpiece is of St. Dominic, holding the rosary, receiving the book and the stick of the evangelic preaching from the Apostles Peter and Paul, by Carlo Pontion. Its walls contain fragments of the glory of the Dominican Saints by Francesco Malcotto that were originally in the apse of the choir.
The Chapel of St. Pius V contains tombstones of Branda Castiglioni (1495), Luigi Arcimboldi (1496) and Cecilia Magenta (1585). There are fragments of frescoes by Montorfano and the altarpiece of Pope Pius V is by an unknown artist.
The Chapel of St. Catherine contains a bronze Crucifix on the altar designed by Ecce Homo, earthenware on the altar table, six bronze tablets with episodes of the life of St. Catherine of Siena, and a (now walled-up) reliquary where the mantle of the Sienese saint is preserved. There are paintings in the lunettes of St. Catherine of Alexandria and St. Catherine of Siena and an altarpiece of the Virgin Mary of Child and St. John the Baptist and St. Peter Martyr, by Nicolo of Cremona.
The Chapel Della Torre highlights a painting of the Virgin Mary adoring the infant Jesus with St. Ambrose, St. Lucy and the offerer’s family. If you glance upward, you will notice an example of the original decoration of the XV century.
The Chapel of Marliani (or The Angels Chapel) depicts an altar piece of St. Michael defeating Satan which dates back to 1560 and there are nine angelic choirs on the vault by an unknown painter.
The Chapel of St. Martin de Porres has four cenotaphs from the XVI century on the walls and an altar piece of St. Martin in Ecstasy by Silvio Consadori.
Chapel Sauli’s main focus is the Crucifixion by Giovanni demio of Schio. On the walls there are elegant angels created by earthenware covered in stucco, that carry the instruments of the Passion. If you look closely, there is evidence remaining of the bombardment from World War II.
Finally, St. Crown’s Chapel offers the Deposition from the Cross by Caravaggio dating back to 1616. Its original masterpiece, The Crowning of Thorns Coronation by Tiziano was stolen in 1797 but was recovered and now housed in the Louvre. The vaults and walls display frescoes with scenes from the Passion.
After making my rounds of the illustrious chapels, I made my way through the remainder of the church, admiring the decorated vaults and domes of the nave and the apse.
The two-level choir of the friars for the holy liturgy has thirty-three Carthusian-styled seats on the lower level and forty-two on the upper level decorated with figures of angels and saints in the Lombard style. The modern organ is lowered in the middle of the floor. The choirs of Italy’s churches are always a favorite of mine with their elaborate carvings and I am always able to imagine the beautiful sounds that must emanate from this area.
The outside of Santa Maria delle Grazie is also not to be missed! Make sure to not miss the family crests that decorate the outside of the church.
Though Santa Maria delle Grazie is consistently outshined by the Last Supper which is housed in its refectory, every visitor to Milan should make their way to its location and give it the respect it deserves!
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And how many years have I tried to get tickets to the Last Supper?
Too many!
Never spending more than twenty four hours each time in Milan, it was a difficult decision to spend money on something that might not happen. Weather might move in. Sickness might strike. A car accident could render me stranded on the roadside. And, I would not make it to Milan.
You get the picture.
So, each time I looked for tickets to see the Last Supper the day before or even the day of, there were none. Even testing my luck, I had gone to the office and inquired, thinking they might feel a bit of pity and suddenly find “one” ticket. Detecting a bit of laughter behind their comments, directing me to come back first thing the next morning, I always walked away defeated.
After a long night in flight, I was riding to my hotel and browsing the internet. Divine intervention must have inspired me and I suddenly felt the need to check for Last Supper Tickets. Imagine my astonishment to find a site that had one ticket left!
Quickly entering my information, I made the purchase and was so excited that I could hardly take my much needed nap!
My admission time was for later in the day, so I did get that much needed nap, even allowing enough time to visit the church next door, Santa Maria delle Grazie, afterward.
Sitting in the piazza, I watched the various tour groups meet their guides, anxiously awaiting the arrival of mine. Of course, I let my imagination get the best of me, thinking that I had stumbled upon a fake web site and no one would be here to greet me. Finally, walking around, I inquired with a couple of the other guides about my tour and started to meet the members of our group…yet still no guide.
Eventually, we were told by the gentleman, who was there to give our guide the audio-earpieces for us to wear, that our guide was running a bit late, but would be here with us for our admission time. Finally, we spotted him quickly walking down the street and we were soon verifying our tickets and receiving our earpieces. We entered the building, passing through security and took our place in the long hall, readying for our time to enter the airlocks which protect the Last Supper from the elements.
First door, last door…we were in.
And nothing prepared me.
Many years ago, I went to the Louvre and was excited to see the Mona Lisa. It was only when I arrived at its location, deep inside the museum, that I found that it is so much smaller than I anticipated.
This was the opposite!
I expected The Last Supper to be quite small, much like the Mona Lisa, and instead found that it took up the entire wall of the right side of the building. And not only that, The Crucifixion by Giovanni Donato da Montorfano takes up the opposite wall! Certainly, I never expected to see two masterpieces in the same room!
Our guide was very informative and explained each of the paintings to us, pointing out every small detail that we may have not noticed on our own.
The Last Supper was commissioned by Ludovico Sforza, the Duke of Milan, to be painted in the monastery of Santa Maria delle Grazie and was completed in 1498. A representation of the meal that Jesus shared with his apostles, it shows the different reactions that each portrayed when Jesus shared the news that one of them would betray him. It is topped by the Sforza coats of arms painted in the lunettes that are formed by the triple arched ceiling of the refectory. What I found most interesting was that Leonardo da Vinci wandered the streets looking for likenesses to base the figures of the painting on. When the monastery’s prior complained about da Vinci’s laziness about finding someone upon which to base Judas, da Vince responded that the prior would make a great model!
On the opposite end of the building is the Crucifixion, which depicts the crucifixion of Jesus Christ outside of Jerusalem. At the foot of the cross bearing Jesus, is Mary Magdalene, Saint Dominic, founder of the Dominicans, Saint Thomas of Aquinas as well as other saints and leaders from the Dominican order. Figures of the Sforza family are incorporated into the painting.
During World War II, bombings threatened the existence of the church, monastery and the paintings. As Allied Leaders bombed many major European cities, the walls of the refectory were reinforced with sandbags and scaffolding to help protect the two paintings within.
When a high-explosive bomb landed eighty feet away on August 15, 1943, it was thought that all was lost. The building’s roof had caved in, the cloister had collapsed and one whole wall was blown out.
Miraculously, the paintings had survived.
The Last Supper and the Crucifixion have endured for many years since, yet both now are in an extremely fragile state and acute measures have been extended to their care. Both paintings now reside in a climate controlled atmosphere and much work has taken place to restore some of the former glory to the paintings. Only limited viewings are available (twenty-five people every fifteen minutes) each day and a state of the art infiltration system was recently installed. Despite all of these efforts, however, they may not be around for younger generations to appreciate in the coming years.
Some things last a long time, however, nothing lasts forever, so if you can get to Milan sooner than later and get tickets for Leonardo’s masterpiece…run don’t walk! It is one of the most enlightening experiences in all of Italy!
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Most churches can be construed as museums. Filled with religious works of art and exhibiting stunning architectural features, you can enter, in most cases, without paying an exorbitant fee and spend as much time as you wish, not only viewing the treasures, but spending a bit of time in solitude and contemplation.
The Church of St. Fedele is not only much like I described, but it is the only church in Milan that really does have a real art museum within its walls.
After visiting La Scala Theater, I noticed that St. Fedele Church was just around the corner. It was starting to sprinkle and if I was lucky, it would take up a bit of the time I needed to kill before dinner. Pointing myself in that direction, I covered the short distance quickly and stepped into the large square, admiring the statue of Alessandro Manzoni, the Italian poet and novelist.
The Jesuit church, which dates back to 1579 and is dedicated to St. Fidelis of Como, took the title of Santa Maria alla Scala in San Fedele when Santa Maria alla Scala was demolished in 1776 to make way for the Teatro alla Scala. Much of the destroyed church’s ornamentation from that church was brought to San Fedele.
The elegant facade which stands out in the St. Fedele Square today, was completed in 1835, however, many years later, during World War II, the church was severely damaged during a bombing raid. Though since repaired, the exterior should be examined thoroughly as it features a group of statues representing the Assumption, designed by Italian sculptor, Gaetano Matteo Monti.
The interior is a single nave church with tall columns, but adorned less ornately than others I have seen throughout Italy. There are, however, some notable pieces, including a Pietà by Simone Peterzano, a St. Ignatius by Giovanni Battista Crespi (il Cerano) a Transfiguration by Bernardino Campi, and a “Sacred Heart” by Lucio Fontana.
As I made my way around the church, I decided that it might be a short visit after all. Admiring the altar and the sanctuary, I was approached by a gentleman who asked if I would like to see the other parts of the church. He explained that St. Fedele is unlike any other in the city as it incorporates an art museum within its walls. Intrigued, I paid him the three euro entrance fee and was admitted to the sacristy.
As I made my way through the rooms of contemplation…the sacristy, the crypt, the sacellum, and the chapel of the dancers…I noticed the ancient reliquaries, liturgical objects and paintings that are usually found in religious spaces. There were also, however, works of art by Christo, Warhol, Arman, Rotella, Schifano and Radice, all collected by artist, designer and architect Nanda Vigo throughout his life. Overall, an experience that showed how important art and culture were to the Jesuits.
SacristyArt pieces mixed with religious icons at entrance to sacristy
Chapel of the Dancers
Art installation
What I enjoyed most, however, was what lies beneath the church. In the crypt, there are the remains of St. Fidelis, however, in a small airtight room on the right, there are the Relics of the 365-day Calendar. The little shrines are organized in daily order from Jauary 1 until December 31 and contain the relics of all the saints of the Catholic calendar that have been canonized until the beginning of the 19th century.
Making my way up to the church’s main level, glancing at my watch, I realized how much time had passed since I had made my way here. There was a great deal to see and experience, unlike my first impression.
Ancient artists have demonstrated over the centuries that there is a direct link between art and faith…just look at the treasures that adorn most churches. St. Fedele brings it to a new level and a new century with modern art.
Just remember, when Michaelangelo’s Pieta was placed in St. Peter’s Basilica, and he was alive, it was modern art!
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The Church of San Fedele
Address: San Fedele Street, 4, 20121, Milan
Hours: Monday and Tuesday, 0730-1630. Wednesay through Friday, 0730-1800. Saturday, 1000-1930. Sunday, 1000-2000.
Admission: Free to visit the church. San Fidele art exhibition in the sacristy and rooms of contemplation, €3
Getting There: Metro, Lines M1 and M3, Duomo stop or Tram, Line 1, The closest station: Duomo (Metro Lines M1 and M3), Teatro alla Scala stop.
