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There is a church in Milan that I’ve been wanting to visit for a very long time.
San Bernardino alle Ossa.
The bones church.
San Bernardino alla Ossa, is a church in Milan, near the Duomo, which dates back to the thirteenth century, when a hospital and a cemetery were built in front of the basilica of Santo Stefano Maggiore, located next door. In 1210, excess bones from the cemetery needed housing so a chamber was built, next to which a church was built in 1269.
Restored in 1679 by Giovanni Andrea Biffi, the facade was modified and the walls of the ossuary were decorated with human skulls and tibiae. When the church was destroyed in 1712, a new edifice was designed by Carlo Giuseppe Merlo and expanded to accommodate the growing interest in the ossuary. The new church was then dedicated to St. Bernardino of Siena and completed in 1776.
Having been to both the Capuchin Crypt in Rome and the Catacombs in Paris, I was anxious to see how this compared, but I always seemed to be in Milan on Sunday when the church was closed to visitors.
Due to an irregularity in my schedule and some good luck, I happened to be in Milan on a Friday and the church was open during the afternoon. Making my way from the Duomo metro stop, I approached the area but was a bit confused. The first thing you notice upon approach is the basilica of St. Stefano and its bell tower immediately in the forefront. Seeing others entering the palazzo-like, unadorned building on the left, I realized that this was San Bernardino alla Ossa.
Entering the church’s vestibule, I acknowledged the Blessed Virgin and followed the corridor on the right, leading to the chapel ossuary.
The small square chapel, a breathtaking area, was originally decorated with frescoes by Sebastian Ricci, an Italian artist. Today, you can still see his work…gaze upward at the incredible ceiling which depicts the Triumph of Souls Among Flying Angels and the glory of the four patron saints, Santa Maria Vergine, Santa Ambrogio, Santa Sebastiano and Santa Bernardino de Siena. The rest of the chapel is adorned with an altar and a niche with the statue of Madonna Addolorata (Our Lady of Sorrows) kneeling before the body of Jesus. Skulls and bones, believed to be the deceased from the hospital and corpses from seventeenth century cemeteries, are arranged in niches and on cornices, pillars and doors. Some are stacked “frame-like” appearing as oversized paintings in simple shapes while others are arranged in ornamental patterns, like skull and crossbones. The skulls that you observe in cases above the door are those of executed prisoners.
Remains interred near the altar are those of a young girl, who, according to legend, comes back to life on November 2nd, All Souls Day, and lures other skeletons in a morbid dance.
Be sure to take a seat and revel in the unique artistry of the chapel and be prepared for large tour groups entering the chapel now and again. A sign advising against photographs is present in the hallway, however, I did not see this until I heard the caretaker telling a group of Spanish tourists that photography was not allowed. Thankfully, I had been able to capture some stunning photos before I understood the restriction.
The church itself is not very remarkable and rather small. An octagonal plan, it has two side chapels with baroque marble altars, with the one on the right showcasing an altarpiece by Frederico Ferrario representing “Santa Maria Maddalena in casa del fariseo” (St. Mary Magdalene in the house of the Pharisee).
However, be sure not to miss one of the most interesting aspects of this church. The chapel on the right of the altar also houses a tomb of some descendants of Christopher Columbus’ maternal family. You can spy the family coat of arms with the motto, “Colon diede il Nuovo Mondo alla Castiglia e al Leon” (Colon gave the New World to Castile and Leon).
The church has grown in popularity over the years and though not very well-known, it often listed in the Top Things To Do lists of Milan. Maybe not as large as the catacombs of Paris and maybe not as ornate as the Capuchin Crypt in Rome, I do think that San Bernardino alla Ossa is by far the most intimate and most beautiful.
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San Bernardino alla Ossa
- http://www.turismo.milano.it/wps/portal/tur/en/arteecultura/architetturaemonumenti/abbaziechieseebasiliche/chiesa_san_bernardino_ossa
- Address: Via Carlo Giuseppe Merlo 4, 20122 Milan, Italy
- Hours: Monday thru Saturday, 0730-1200 and 1300-1800. Closed Sunday.
- Admission: free
- Getting There: Metro, Duomo stop. Proceed along the cathedral’s southern side to the end of the square and into Piazza Fontana. Cross the piazza diagonally, across Via Verziere.
Having seen the magnificent Westminster Abbey, in all of its glory the day before, this cathedral could have been sort of a letdown. However, you can’t compare apples to oranges. Southwark has an amazing history and some unique things to see as well.
Making your way toward the altar on the cathedral’s north aisle, you will encounter the tomb of medieval English poet, John Gower. A friend of Geoffrey Chaucer, he lived in the cathedral’s priory from the 1370’s until his death at the age of 78. His body is interred with his head resting on one of his most famous works, Speculum Meditantis, Vox Clamantis and Confessio Amantis. The latter’s first editions were dedicated to Richard II.
On the north aisle of the cathedral is the North Transept and many monuments are located in this area, most notably the monument to Lionel Lockyer, a physician whose pills were said to heal all ailments and another to lawyer and poet, William Austin. Austin’s monument, created by Nicholas Stone, a famous 17th century sculptor, is hard to miss for its size.
Take a peek into the Harvard Chapel and inspect the John Harvard Memorial window before continuing on toward the Lady Chapel. Along the way, take in the Humble Monument, which pays homage to Alderman Richard Humble, a member of the church vestry, and his two wives, Elizabeth and Isabel. Equally impressive is the Medieval Effigy of a Knight, an incredible carving of a knight, possible a crusader, dating from 1280.
Between the north and south aisles, behind the altar is one of the greatest treasures of the cathedral, the High Altar Screen. Erected in 1520 by Bishop Fox of Winchester, the screen displays three lines of statues depicting St. Olaf (King Olaf II of Norway) who converted to Christianity and is know for pulling down the London Bridge to protect the city from an assault from the Danes. Also featured are the figures of poet John Gower, King Henry I, Thomas Becket, St. Peter, St. Paul, Cardinal Beaufort, Bishop Fox and many others. There are also carvings of the Lamb of God, a pelican (badge of Bishop Fox), a row of angels and hunting scenes.
Be sure to inspect the tomb of Bishop Lancelot Andrewes located on the south aisle. A high ranking bishop, during the reigns of Queen Elizabeth I and James I of England, Andrewes was a key translator of the King James version of the Bible and assisted at King James’s coronation. During the latter part of his life, he became Dean of Winchester remaining in the position until his death at the age of 71 in 1626.
The last major attraction in the church is the Memorial Window of Shakespeare with a remarkable alabaster statue, created in 1912 by Henry McCarthy, of the great writer in repose, quill in hand. Shakespeare was a parishioner who worshiped at the cathedral when he lived near the Globe Theater. William’s brother Edmund was buried on the church grounds in 1607, however, the exact location of his tomb is unknown.
Before leaving the church, make sure to take a quick walk around the grounds of the church. While taking a look at the stunning Gothic architecture, also look for shrapnel damage which is still visible from the bombs dropped in the area between October 1940 to June 1941. Also, take a look at the archaeological remains located in the far side of the entry hall.
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A church on this site has been dated back to 1080, however, construction of the present church was begun, on orders of King Henry III, in 1245. In addition to the coronations, other notable events have been held at the abbey, including sixteen royal weddings (most recently, Prince William to Kate Middleton in 2011), the funeral of Diana, Princess of Wales and countless burials.
Following the audio guide, I was led past incredible sculpture and the 600 plus memorials in the Nave to the Tomb of the Unknown Warrior, in St. George’s chapel, which holds an unidentified British soldier, killed during World War I on a European battlefield. This young soldier was interred in Westminster Abbey in 1920 around the same time an unknown French soldier was interred at the Arc de Triomphe in France. These were the first two graves to honor the unknown dead from the First World War.
In the rear of the sanctuary is the Confessor’s Chapel and Henry VII’s Chapel. Henry VII’s 16th century chapel contains the tomb of Henry VII and his Queen. Be sure to take a look upward at the fan vaulting and richly appointed sculpture as well as the banners and carved stalls of the Knights of the Order of the Bath. Also, be sure not to miss Innocents Corner, the burial place of Sophie and Mary (James I daughters) who were only two and three years old at their passing and the small sarcophagus of Edward IV who was murdered in the Tower of London. The royal tombs of Elizabeth I and her predecessor, Mary Tudor, Charles II, William II and Queen Anne are also located within the chapel. Another point of interest is the Royal Air Force Chapel dedicated to the fallen in the Battle of Britain.
Though I had been able to get a few photos during the initial part of my visit, it was here in Henry VII’s chapel that I was informed that my phone had to be turned off. Apparently, photography and filming are not allowed in Winchester Abbey. As a devout admirer of sculpture and architecture as well as photography, it was disheartening to not be able to capture the beautiful images I was seeing in order to share with others.
As I walked through the Cloisters, dating from the 13th and 14th century, I admired the long vaulted corridors and the beautifully manicured courtyard in the center. The cloisters contain many tombs, the entrance to Dean’s Yard and the oldest garden in England, College Garden. There are also rooms located on the western side of the cloisters which include the Deanery, Jericho Parlor and the Jerusalem Chamber, the place of Henry IV’s death in 1413.
As you make your way around the church, however, there are two famous reliquaries to take note of. The tomb of Juan Ponce de León, the first governor of Puerto Rico, most well known for his search for the Fountain of Youth, has been laid to rest in the cathedral. Though, the conquistador’s remains were originally interred at the Iglesia de San José, his family’s place of worship, he was moved here in 1912, to commemorate the 400 year anniversary of evangelization. The white marble tomb, created by Spanish sculptor Miguel Blay, near the church’s transept, is not to be missed.
Another interesting shrine within the cathedral is dedicated to Blessed Carlos Manuel Rodriguez Santiago, the first Puerto Rican and the first Caribbean-born layperson to be beatified.
A most breathtaking structure, its architecture is considered to be amongst the finest in the country. Construction began on the chapel, formerly known as the Collegiate Chapel of St. Matthew, in 1456, by William Sinclair, the First Earl of Caithness for worship by the Sinclair family. After the Scottish Reformation in 1560, Roman Catholic worship in the chapel ended. It was then closed to public worship until 1861, and then opened again according to the rites of the Scottish Episcopal Church.
Circling the church, we admired and photographed the carvings on all of the chapel’s outer walls. Though some are harder to distinguish than others, it was easy to pick out a fox running off with a goose (with the farmer’s wife close behind) on the north wall and faces carved into the window arches along with animals such as a stag and a ram. The west wall shows how the chapel was originally intended to be a much bigger building with doorways, which would have led to a nave (now blocked) and other features not normally found on exterior walls (as this was not planned to be one).
Eight Nordic dragons ring the base of an ornate pillar and more than 110 carvings of pagan deities known as Green Men can be found throughout the chapel. These human faces are surrounded by greenery, often growing out of their mouths. One arch depicts figures waltzing with their future skeletons and a double humped camel and bunches of maize can be spotted, both not found in Scotland. Stories from both the New Testament and the Old Testament are illustrated as well as 213 cubes protruding from pillars and arches with patterns on them. It is speculated that these patterns may have meaning, some thinking it is a musical score. Though there is much conjecture about the carvings and their meanings, not much is known as several fires at the nearby Rosslyn Castle consumed much of the St. Clair family’s archives and documentation on the chapel.
Originally planned in a cruciform shape, the chapel stands on fourteen pillars. The three pillars at the east end of the chapel, the Journeyman Pillar, the Master Pillar and the Apprentice Pillar all date from the Georgian period. The most interesting of the three, the Apprentice Pillar has a most intriguing legend attached to it. The master mason had decided the pillar to be too difficult to carve and had departed to Italy to study with other masons. His apprentice, however, decided to carve the pillar in his absence. When the master mason returned and saw the outstanding work, he killed the apprentice with his mallet. The wounded head of the apprentice was then carved into one capital of the pillar and his weeping mother was carved into another.
Descending into the sacristy, we were aware that it is also known as the crypt, though not the actual burial vault that lies underneath the chapel where several generations of Sinclairs rest. The actual crypt was once accessible from a descending stair at the rear of the building, however, it was sealed shut many years ago. Legends have resulted from the knowledge of this sealed crypt, many believing that it was a front for a more extensive subterranean vault which may have contained the reputed Templar treasure. In 1837, when the 2nd Earl of Rosslyn passed away, his wish was to be buried in the original vault. Though searches were conducted for many days, no entrance was found and he was buried beside his wife in the Lady Chapel.
The chapel, still owned by descendants of its founder, Sir William St. Clair is now guided by a trust that oversees the site. It is this trust that forbids the photography within the building. Several books are for sale within the gift shop offering a look at the unique interior published by the trust. Though photography is banned, other tourists were also spotted sneaking photos throughout their visit. After inquiring about the organ, we were allowed to photograph the area as this was not part of the original building.
Taking the RER B, I headed north, changing lines to the RER D at Gare du Nord. Disembarking at Gare du St. Denis, I walked out of the station only to realize that nothing looked familiar. Asking for help, I proceeded to walk in the direction which I was pointed. About ten minutes later, following signs marking the way, I finally found the basilica.
Admittedly, the exterior is quite remarkable and some time should be taken to inspect and appreciate the intricate details on all facades of the church before entering. Admission to the nave is free and well worth a walk around. From here, you can determine why the church was promoted to cathedral status in 1966, so awesome is its beauty. Be sure to visit the gallery on the left side of the cathedral which showcases many royal items from past kings. From the nave, you can spy the tombs and monuments from afar, however, if you are aspiring to a closer look (which you will), you must pay the admission to the necropolis outside at the right of the basilica.
Historical sources point to a nineteen-inch sculpture of the Holy Child with a bird in his right hand as the original Infant Child of Prague. Located in the Spanish monastery of Santa Maria de la Valbonna in Asturias, it was carved in 1340. Other sculptures were carved by famous masters during the Middle Ages and were dressed in the aristocratic fashion of the time period. It is believed, however, that the current statue was a gift from Lady Polyxena to the Carmelites who said upon presenting the figurine, “I am giving you what I most esteem of my possessions. Keep the sculpture in reference and you will be well off”. Since that time, many claims of blessing favors and miraculous healings have been attributed to those who petition the Infant Jesus.
Though my companion was a little disturbed by the fact that such devotion is given to what he only considers a doll, I was fascinated by the history of this icon. When in Prague’s Malá Strana district, take a moment of your time, and visit the Infant Jesus of Prague. Or better yet, try to be there during the coronation celebration held every year on the first Sunday in May. The Infant Jesus is displayed in the presbytery on Saturday and Sunday. On Saturday, after evening mass, a procession is held with a copy of the statue. The main pilgrimage mass with the coronation of the statue is celebrated at ten o’clock on Sunday.
A central plaza spread before us with a large, covered pavilion, lined with brightly covered flags. A nearby covered structure contained a large number of inscribed benches and there were a few vendor’s storefronts as well as the Hacienda Tequila Museum, which offers tequila tastings.
Arriving in the front of the building, an extensive queue snaked from the front to side where tickets were required to enter the queue. After a quick walk to the ticket office at the Sala Delle Colonne, we soon had tickets in hand and were back to the line. Moving rather quickly, our bags were inspected at the door and we were then admitted into the cathedral.
