Many churches were closed at the early hour when I made my way through the city. Many were only open at certain times. Of course, I was able to visit the cathedral, but I wanted there to be more.
After more misses than hits, I was finally able to find a church with some historical significance that was open for visitation.
The Church of San Martin.
In the prime location of the Plaza de Medina del Campo, there is an important Romanesque church, built in the 12th century and known for its unique design and structure. Its tower, which was designed in the Romanesque-Mudejar style is topped by a Baroque spire and the body of the church offers alluring porticos on three of its sides and a large fortified tower, the Torreon, built in the 14th century.
Plaza de Medina del Campo
As I entered the church and paid my admission, I learned that a ticket can be purchased which covers most of the churches within the city. Since it was the end of my day, I opted to pay the single admission and begin my exploration.
The church has been restored on multiple occasions with reconstructions of some parts and the elimination of others. It is a rather small structure and takes only a short time to make your way throughout its ancient interior which consists of three naves and three apses.
The high altar commanded my attention with its beautiful gilded altarpiece. There are some interesting statues and altarpieces in the side chapels as well a prostrate statue of Jesus. The church is dimly lit which lends to its intimate appearance. It was interesting to note that the church boasts a dome, however, it is not visible from the inside as it is covered in plaster.
Moving on to the exterior, I was able to reexamine the doorways from which I had entered the church. These doors are quite beautiful made of arched archivolts. Continuing along the arcaded galleries, I was able to study the religious scenes which decorate the Romanesque capitals. Some have been restored and also focus on God’s creatures…lions, birds, griffins among others. There are also some scenes of the Nativity, the Annunciation, the Flight Into Egypt, the Massacre of the Innocents, the Presentation of Jesus at the Temple, the Resurrenction of Lazarus, the entry into Jerusalem, the Last Supper, the Betrayer of Judas and the Ascension.
Once my tour of the galleries was complete, I made my way around the entire exterior of the church’s walls. I discovered the image of the Saint Bishop San Martin de Tours (12th century) and gazed skyward at the bell tower. Though this particular one does not soar as high as the cathedral’s, it and the galleries, do lend to the unique beauty of the square.
Although my visit was short, it was extremely fulfilling to visit the ancient temple.
There are many other churches throughout the city. Try catching them during opening hours. Though I can’t vouch for the beauty of their interiors, some of their exteriors are extremely pleasing to the eye and have a rich history.
Segovia’s religious history is one to investigate.
Other churches within the city’s limits.
Iglesia de San MiguelIglesia de San AndresSmall Church on Calle la Juderia ViejaIglesia de San ClementeIglesia de San Millan
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Some cities love to boast that they have the first cathedral built within it boundaries.
Not Segovia.
The Spanish city’s religious claim to fame is that it has the last Gothic cathedral to be built in Spain.
Started in the 16th century, the Segovia Cathedral was not finished until 1768. Sitting proudly on the Plaza Mayor, it maintains the spot where Isabella I was proclaimed the Queen of Castile.
As I strode into the Plaza Mayor, the cathedral is what commanded my attention. There were some beautiful architectural elements in the square, but it was the grand church’s Gothic exterior that commanded my attention.
After paying my admission, I made my way around the massive church designed by Juan Gil de Hontanon and constructed by his son Rodrigo. Within its enormous interior, the outer fringe of the cathedral is lined with more than twenty chapels illuminated by 16th century Flemish windows. Though each chapel was unique and interesting in its own way, my overall impression of the cathedral was one of which was impressive but rather stark compared to other cathedrals I have visited. Some of the chapels, however, stood out more than others with elaborate decoration and golden altars.
The Blessed Sacrament Chapel, one of the most outstanding in the church, which was created by Churriguera and featured stained glass windows, carved choir stalls and 16th and 17th century paintings. The third chapel on my right from the entrances, the Capilla de San Cosme y San Damian, displays a wooden lamentation group by Baroque sculptor Gregorio Fernandez.
The large, 15th century Gothic choir, in the center of the church, was quite mesmerizing with its elaborately carved stalls and old manuscripts. Directly across from the choir, protected by bars, was the high altar with an 18th century altarpiece by Sabatini. Although you can peer through the barricade to see the specifics of the altar, it is a pity that the overall beauty cannot be fully appreciated from afar.
Through an elaborate doorway, I made my way to the late Gothic cloister, which dates back prior to the cathedral’s beginnings. Strolling through the peaceful halls and admiring the maze of green gracing the center, it was in one of the corners that I found the tombs of Juan and Rodrigo Gil de Hontanon, the men responsible for the beautiful place that I was exploring.
Beyond the cloister, within the first floor of the Chapterhouse, I discovered a small museum of religious art. There were some compelling paintings, jewelry and a collection of rare antique manuscripts. The Chapterhouse itself was a rich display of of paintings and tapestries and offered an array of religious vestments and tapestries on the second floor.
The rear of the cathedral was open and I was able to inspect the gated area to examine both the exterior architectural features and the tombstones set into the terraced area.
As I walked through one of the chapels at the rear of the structure, I spied a sign which advertised guided tours to the cathedral’s belltower. Undecided about the time it was scheduled (I had a lot more ground to cover), I left the church and made it as far as the Plaza Mayor’s center. It was only 35 minutes until the beginning of the tour…how could I not take advantage of the opportunity to see the cathedral in its entirety? Heading back to the cathedral, I paid for the tour and hastily made my way to the starting point, where the guide was already addressing a small group. Listening to the guide’s opening oration, I was eager to see what was in store for our group. Good views and a lot of information I hoped.
To be continued…
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There are exceptions to the rule, however. In Granada, the main square is the Bib Rambla, but the Plaza Mayors in Madrid and Salamanca are two of the most famous. Having visited Madrid’s main square many times, it was no surprise to find that Segovia, too, had a square by the same name and I could not pass up the chance to discover what made this one stand apart from the others that I had visited in the past.
As I made my way down Calle Real, one of the most famous streets in Segovia, I suddenly found myself in the heart of the city. This square, under the watchful eye of the city’s magnificent cathedral, boasts several other important buildings such as the Town Hall, the Juan Bravo Theater and the San Miguel Church. There is also a small bandstand located in the middle of the plaza where the occasional musicians pound out a tune and around which the Segovian people have social gatherings and festivities.
Cathedral of SegoviaTown Hall
Segovia’s Plaza Mayor was built in the 17th century as the center of the village where vendors set up their stands and citizens socialized and met. The Town Hall, (17th century), flanks the north side of the square and is the location of the majority of all Segovian events. The church of San Miguel, with its beautifully colored spire, was rebuilt in 1558 and was the location where Isabel was proclaimed Queen of Castile. I had been excited to visit this church with its Rubens painting and baroque altarpieces, however, due to the early hour, I found the door locked.
Church of San Miguel
The Juan Bravo Theater, one of the newer buildings that sit on the square, was constructed in 1917 and is used by both locals and tourists for various performances.
Juan Bravo Theater
This city square has changed names many times over the years. It was first called the Plaza Mayor upon its conception and then, during the Bourbon Restoration, Plaza de la Constitution. It was changed to Plaza de Franco after the Civil War and then changed again to its original name, Plaza Mayor at the end of Francisco Franco’s dictatorship.
As in the past, there are many outdoor cafes, shops arcades and hotels that surround the square and this is a place where you can spot many tourists who visit the city. Fiestas, such as the Frutos de Segovia, and the traditional fairs of San Juan held until the day of San Pedro on June 29 and participants can enjoy traditional fairs, folk walks, illuminations and fireworks.
It was much more of an open space than the Plaza Mayor in Madrid and extremely peaceful, especially during a day in winter, when the city is not filled with tourists seeking out its wonders. It was a mild February day when I was visiting, so I decided to sit outside and enjoy the comings and goings of the locals, while enjoying lunch and keeping an eye on the beauty of the Segovia Cathedral which was on my list of places to visit.
Ancient Segovians may have known this place by a different name, however, regardless of what alias this main plaza goes by, it can really only be known as one thing…
The heart of the city.
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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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He just doesn’t like visiting them as a tourist. In fact, he feels like it’s an intrusion and a bit disrespectful.
Good Catholic guilt.
On the other hand, there is me. Raised as a Catholic and no stranger to my own religion’s institutions, there is a great admiration for architectural elements, decorative features and their history of all churches. As I walk through and examine each interior, I always think of others. Everyone should see this! I guess my love for spreading how remarkable these temples are, outweighs my Catholic guilt. Imagining that my blog posts and pictures might inspire one person to venture into a church out of curiosity, might inspire them to stay…for good…no matter the religion.
While in Bruges, there were many churches that I would have loved to investigate. I knew that getting my husband to see one church during our short visit was probable. Two…slim. Three…not going to happen, especially when there was so many other things to see.
Having already visited the Basilica of the Holy Blood, I stared wistfully at each church that we passed, wondering what lay inside. As we made our way through the main square, in the waning light, we stopped inside a few chocolaterias, searching for decadent souvenirs.
As we headed in the direction of the train station, I spied the tower of Saint Salvator Cathedral (Sint-Salvatorskathedraal) ahead on the right. Realizing that it was the end of the day, I consoled myself with the knowledge that it was probably already closed.
Surprisingly, as I stopped to take a picture of the exterior, my husband suggested that we see if it was still open…
It was!
Saint Salvator’s, the main church of the city, was originally built during the 10th century as a parish church in the shadow of St. Donatian’s Cathedral. St. Donatian’s was located opposite the city hall and was the religious heart of the community, but was destroyed by fire in 1116. A new church was constructed in 1127 and a century later, the lengthy construction of the present church was begun only to be destroyed by the French occupiers of Bruges in the 18th century.
After Belgium obtained its independence in 1830, Saint Salvator was given the status of cathedral and became the main church of the Catholic population. Because of its smaller size, however, renovations were required to elevate it to its higher status and one of the main features is its tall tower dating from the 12th century which outshines the nearby Onze-Lieve-Vrouwekerk, the Church of Our Lady.
Entering the cathedral, we made our way throughout the ornate interior, noting some of the exquisite furnishings. There are many works of art originally stored in Saint Donatian’s cathedral and original paintings that the wall carpets (that can be viewed at the entrance) were modeled on and originally commissioned for Saint Donatian’s.
Some of its other treasures include its organ which was completed in 1719 and expanded and rebuilt three times in the 20th century. In the choir, the original 16th century podium can be regarded as well as a baroque fence made by Artus Quellinus the Younger.
Inside the cathedral’s south transept, there is the church Treasury which displays jewelry, reliquaries and objects used in religious services, however, in the interest of time, we were unable to visit. Before our exit, however, we did take note in the front of the church, the medieval tombs that were unearthed during renovations during 1989-1993. These 14th century tombs are covered in plexiglass and brightly painted in the style that was typical of Flanders in that period.
Medieval Tombs
As we stepped out into the evening to make our way back to the train station, I glanced back at the soaring tower of the church. With all that we had seen in the city, being able to sneak in a visit to the Cathedral was icing on the cake!
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Hours: Monday-Friday, 1000-1300 and 1400-1730. Saturday, 1000-1300 and 1400-1530. Sunday, 1130-1200 and 1400-1700. January 1, May 21, December 24-25, 1000-1300.
There are approximately sixty-five churches in Charleston’s downtown area and as I stood at my hotel window, so many majestic steeples and spires dotted the landscape, I almost lost count!
I was intrigued! I always seek out churches in Europe, but I was curious to see what these churches, some very historic, would offer. As I stood before the window, I decided that this would be my mission that day. I would try to see and photograph as many of these historic places of worship as I could!
The French Huguenot Church was first on my list, not only because it was in the area that I was headed, but I was captivated by pictures I had seen. Dating back to 1845, this was the third church to stand on the site and it is the only remaining independent Huguenot Church in America. Although I didn’t get the opportunity to venture inside, I was able to admire its Gothic styled windows, buttresses and decorative details.
Just down the street, I was drawn to St. Philip’s Episcopal Church, one of the most photographed landmarks in Charleston. In 1681, a small wooden building on the site of the current St. Michael’s Episcopal church, housed the congregation until a new church was built on this location in the 1700’s. This church, however, was destroyed by fire in 1835. The current church was completed in 1838 and it’s lofty steeple added a decade later. Again, neither the church nor its graveyard were open as I strolled by, but it should be noted that there are many prominent people buried in this location, including several colonial Governors, five Episcopal bishops and a former United States Vice President.
The Circular Church was organized in 1681 by English Congregationalists, Scots Presbyterians and French Huguenots who were seeking religious freedom. Located on Meeting Street, it was their first church, known as the White Meeting House, that gave the street its name. The second structure was completed in 1806 until it was damaged by the Great Charleston Fire in 1861 and then completely demolished by the Charleston earthquake of 1886. The current circular Romanesque church was completed in 1892, using material from the previous structure. Though, once again, the church was not open to visitors, the graveyard offered some interesting grave sites and tombstones, one dating back to 1695.
So, I was batting zero as far as seeing interiors of these significant sanctuaries and my average didn’t get any better as I arrived at the Cathedral of Saint John the Baptist. Out front, a sign was posted stating that the interior was closed while it was receiving a fresh coat of paint! Standing outside, I had to imagine what its notable stained glass windows looked like from the inside while gazing up at the relatively new spire. The cathedral dates back to its completion in 1854, only to see its destruction by the Great Charleston Fire in seven years later. The current construction was completed in 1907, with it spire added 103 years later. Disappointed that I was unable to see the interior of the cathedral, I was invited into the basement chapel by the church’s secretary, for a small respite from the unseasonably warm temperatures.
A little further down the block, I found St. Michael’s, and finally, a church that was open! Built between 1752 and 1761, St. Michael’s Episcopal Church is one of the oldest churches in Charleston, surviving hurricanes, wars, fires and earthquakes. It has hosted some very famous guests including George Washington in 1791 and Robert E. Lee in 1861. As I wandered through the historic structure, I noted the beautiful stained glass window in the apse, a brass chandelier, carved wooden pulpit, cedar box-pews, the three-sided second story gallery and its grand organ.
Despite my disappointment in my mission with most churches being closed, this beautiful church restored my vigor!
Heading in the opposite direction, I made my way over to the Emanuel African Methodist Episcopal Church, often referred to as Mother Emanuel. A Gothic Revival style church built in 1891, it is the oldest African Methodist Episcopal (AME) church in the south. Though I was unaware at the time, I discovered later that this was the church that was the site of a mass shooting in 2015 when a man entered the church and opened fire on a Bible study group.
The Second Presbyterian Church was located a couple of blocks away on Wragg Square. Founded in 1809, the church is listed on the National Register of Historic Places. Designed in the Classic Revival style, the brick building features two tiers of windows, a square tower with an octagonal belfry and a Tuscan portico.
Moving on, I spied the New Tabernacle Fourth Baptist Church down the street. After later spotting photographs of this Gothic Revival’s interior, I do wish I could have taken a look inside as it appeared to be quite lovely. This church dates back to 1875 and is the fourth church of the Baptist denomination to be founded in Charleston.
On King Street, named for King Charles II and known for its outstanding shopping, I found St. Matthew’s Lutheran Church. Built in 1872, its 297-foot steeple once made it the tallest building in South Carolina. Today, it is the tallest spire and one that I had seen from my hotel window. After only being able to see most of the churches that I had sought out only from the outside, I was thrilled to find St. Matthew’s open to visitors. The caretaker gave me a detailed history of the church, including the fire that destroyed much of the interior and the steeple, which crashed into King Street. Its original features include the carved pulpit and the stained glass windows in the apse and under the balcony.
Citadel Square Baptist, established in 1854, was the fourth Baptist church built in Charleston and is named after the church’s location across from Marion Square, the location of the Citadel at the time. It makes a beautiful site from the square with its flaxen hued exterior and lanky spire.
Redeemer Presbyterian Church is a relatively new church, started in 2005 on James Island. After deciding to relocate to the downtown area, this church assumed ownership of St. Andrew’s Lutheran Church, which dates back to 1853. Again, it was not open to the public, but I thought that it was a stately building created in the classical Greek revival style.
The last church I came upon was St. Johannes Lutheran Church. To be quite frank, it looked so much like the previous one. Listed on the National Register of Historic Places, however, this church was established in 1842 by a constituency of 52 Lutherans who wanted to retain the German language in their services. In fact, German was spoken until 1910. I understand that the interior is quite beautiful, so I will have to do further investigation to find when the church might be open to visitors.
As the afternoon was coming to a close, I did a quick count…twelve churches. Wow! But wait, how many are there in the downtown area?
I read somewhere that there are over 400 places of worship of different denominations throughout the city. If this is the case, it truly is a Holy City.
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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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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.
In the Plaza Independencia, you can spend a good part of your day see only what is there, including devouring a scrumptious lunch going to mass and making new friends!
Quito’s Cathedral stands on the southern side of the plaza and is a one of the most important churches in the city. Dating back to 1535, when the Spanish founded Quito, it was given the name of Metropolitan Cathedral, until twenty-five years ago, when it was name the Primada Cathedral for the evangelizing work that the church had done over the years.
Construction of the cathedral began between 1550 and 1560 with many renovations over the years, until its completion in 1806. As we walked through the building, the many architectural styles that make up the interior should be a great contrast, however, the styles blend together remarkably…the arches are of the Gothic design, while the altar is very Baroque…the choir area is Neoclassic and the ceilings Moorish.
There are many main attractions in the church that are not to be missed that include the High Altar, gilded and backed by a monumental dome and fronted by a beautiful carved, wooden altarpiece, stunning stained glass windows, stone plates of the first settlers, its Moorish-styled coiffured ceiling, three domes (one carved in the shape of a convex quadrangle, the second, oval-shaped and the third, circular), a carved and gilded wooden pulpit (topped with a sculpture of St. Peter), ornate side chapels and the spacious high choir which houses a German organ.
Many prominent citizens have been interred here, including Mariscal Sucre (liberator Simon Bolivar’s right-hand man), Antoinio Jose de Sucre, Cardinal de la Torre, priests, bishops and many of the Republic’s presidents.
Most importantly, the cathedral houses the most notable relic in all of Quito, that of the Christian martyr, Saint Urcisino. Given as a gift from Pope Pius IX to President Garcia Moreno, it was has resided here since 1871.
The cathedral also contains a museum with many types of art, both ecclesiastical and colonial and an imitation of the Last Supper painting cannot be missed…instead of the usual dinner fare, Jesus and the apostles dine on cuy, the traditional South American dish…yes, it’s guinea pig.
It was revealed to me some time after our visit that visitors can climb through a very narrow and dark staircase and passages and emerge on the roof for a great view of the city and the square beneath, as well as climb to the domes. I guess since it was the end of our day, we missed this!
Though I was sad about not having known about the climb to the top, I had the privilege of looking down on the city from many vantage points during my visit…from the top of the Teleferico, from Panecillo Hill and from the top of the Basilica. Instead of being regretful of what we did not get to do, I will focus on the many beautiful things we witnessed inside this amazing cathedral!
For more pictures, check out Facebook, Snapping the Globe and Instagram, @snappingtheglobe.
Admission: National Tourists, Adults, $2.00, Children, Students, Seniors, People with Disabilities, $1.00. Visit to Domes (Church+Museum+Domes) $4.00. Foreign Tourists, Adults, $3.00, Children, Students, Seniors, People with Disabilities, $2.00. Visit to Domes (Church+Museum+Domes) $6.00.
