The Santuario di Santa Maria di Piazza (also known as the shrine of the Blessed Virgin of Help) is located in the historic center of Busto Arsizio, Italy, where an earlier church dedicated to the Virgin Mary stood, which in turn had replaced a chapel dating back to the time of Christianization. This Marian shrine was quickly built between 1515 and 1522.
Two names appear in the documents dealing with the construction of the temple: that of Antonio da Lonate (author of the model for the Vigevano Duomo) and that of "magistro Tomaxio ingeniero", probably Tommaso Rodari, the well-known sculptor and architect active in the Como cathedral, a pupil of Giovanni Antonio Amadeo. Antonio da Lonate set the central plan, for which a Bramantesque design, "Bramanti secutus exemplar" has been speculated; the latter would have executed the two portals to the west and south, and perhaps the elegant loggia in the tambour under the dome similar to the tiburium of the sanctuary of the Beata Vergine dei Miracoli at Saronno, which is attributed to Amadeo.
History
The ancient building, according to seventeenth-century testimonies, had a square plan of 5m on each side, but it was already probably a fourteenth-century remake of the original building. The church, in its typical forms of Romanesque architecture, was consecrated in 1346 by a bishop named Francesco, delegate of the archbishop Giovanni Visconti.[1] All that remains today of this ancient building is the stone rondel placed at the top of the present presbytery and depicting in a relief the Madonna and Child.
Here in 1358 a chaplaincy was established by Antonio Crespi: thus masses were celebrated every day by a priest chosen by the Crespi family. This chaplaincy took the name of Saint Catherine, and an altar was named after the saint. Another chaplaincy, named Santa Maria, was established in 1485 by Donato Crespi.[1] To this second chaplaincy in 1504 the curia of Milan assigned the priest Francesco Crespi Roberti (or de Robertis), who later became rector of the basilica di San Giovanni Battista.[2]
In the Libro della Decima (a text that listed private entities that owned real estate subject to taxation) of 1399, the Consorzio di Santa Maria di Piazza appears for the first time. This, like the other eight consortiums in Busto Arsizio, had its headquarters in a church (in this case that of Santa Maria) and members met periodically bringing an offering; these offerings would then be given to members in need, to charity for the poor or to aid churches.[2]
Between the 14th century and the 16th century, the town of Busto Arsizio grew in wealth, size and influence within the Duchy of Milan. This led to the desire to erect a new religious building to match this rise. The first stone of this new church, which replaced the Romanesque one of Santa Maria, on laid in 1517 and is still visible embedded in the eastern facade.[2] A number of people, mainly from the more educated part of the Bustoccan population, promoted this rebuilding: among them, the rectors of the basilica and founders of the capitular library of St. John the Baptist Francesco and Bernardino Crespi, the former of whom was also chaplain of St. Mary's; the Scuola dei Poveri; and the municipality. It is likely, though not established, that Galeazzo Visconti, feudatory of Busto since 1488, supported the initiative. There were also many bequests from the clergy and civilian population, particularly dating back to 1524, the year in which the village was hit by an epidemic of plague.[3]
The reconstruction of the church was entrusted to Antonio da Lonate who, as reported by the chronicler Antonio Crespi Castoldi, followed a bramantesco design. I following subsequent studies and research carried out by Pio Bondioli, it can be said that Antonio da Lonate was responsible for the design of the basic wall structure, while the completion and embellishments were the work of Tommaso Rodari.[4] Presenting typical features of Rodari's work are the portals of the south and west facades.[5]
Santa Maria di Piazza before the construction of the bell tower
In 1873, the comprehensive restoration work entrusted to Carlo Maciachini of the building began and involved the tiburium's loggias, the plasterwork of the exterior walls, the dome and architecture, and the copper roofing; the side doors of the western facade, opened in 1605, were bricked up, while the one on the southern facade was reopened. The loggia of the tiburium, the plinths at the base of the interior and exterior walls, the door knockers, the rainwater drainage, and the side altars, which were demolished and replaced (the one on the left would later be removed with the 1939-43 restorations, while the one on the right, with the statue of the statue of the Madonna dell'Aiuto, was moved to the sanctuary of the Sacred Heart in Busto Arsizio in 1912 and replaced). The compasses were replaced, and other interventions affected the windows, the balustrade, the floor, the wooden statues in the niches, and the organ, which was made later and then transferred to the church of Sant'Edoardo in Busto Arsizio, where it is still located today. For the statue of the Madonn, Maciachini designed a small throne for exhibitions and processions. During these works the painter Luigi Cavenaghi was responsible for the pictorial restoration of the entire interior surface.[6]
Architectural design
The dome of the church during restoration, 1939-1943
Internally, the lower, square part, which is cut at the corners by diagonal arches forming niches and bonnets, refers back to Leonardo da Vinci's numerous studies of centrally planned churches, while the octagonal drum with a ring of niches (the crown of the 12 saints) and the eight nails of the covering vault echo the examples of the Church of Santa Maria di Canepanova in Pavia and of the Civic Temple of the Blessed Virgin Incoronata in Lodi and Santa Maria della Croce in Crema.
The rigorous cubic volume punctuated by pilasters is surmounted by a tiburium with gugliotti and lantern that interprets in lighter and more elegant forms the typology of the Lombard tradition.
The two portals of the south and west facades, the work of Tommaso Rodari, are composed of two parts: the lower one has pilasters and geometric ornaments of Renaissance character; in the upper part two arches, inscribed in each other, are interspersed with patere, rectangles and broken out. Above the major arch a beam surmounts two triangular spaces ornamented with red stone roundels like those found in the doors of the Cathedral of Como.[7]
The church at night
Of the shrine of Santa Maria there is an exact copy, but smaller, in Crespi d'Adda, a town listed as a World Heritage Site by UNESCO. Of the statue of Our Lady there is an exact copy in Uruguay in Montevideo, in the church of the popular neighborhood of Cerro.
Interior
The dome was frescoed by Giovanni Crespi, grandfather of Giovan Battista Crespi known as Il Cerano, in 1531. At the same time Francesco Tatti executed decorations in the lower order. The segments of the dome were decorated with dozens of golden stars, while the pillars were decorated with grotesques. In the lower band of the tiburium, the prophets and the sibyls were painted: these figures are illuminated by oculi, on the sides of which two figures are depicted, while two others are placed on the sides of the eight arches below, for a total of sixteen male and as many female figures.[8] Among the male figures, in addition to the eleven scriptural prophets, are Moses, Aaron, David, Solomon and Jonah, while in addition to the sibyls, the other female figures are those of Eve, Rachel, Ester and Judith.[9]
The frescoes in the chancel 1542 are by Giovan Battista della Cerva a pupil of Gaudenzio Ferrari and depict respectively: The Annunciation on the pillars; Adoration of the Magi on the left wall; and Adoration of the Shepherds on the right wall. To della Cerva are also attributed the Musician Angels in the sail of the corner arch, to the right of the chancel, as well as the angels and pilasters of the decoration.
The Last Supper, in the altar to the right of the high altar is by Gaudenzio Ferrari and Giovan Battista della Cerva, while the paintings in the lunettes of the portals, depicting the Madonna with Child, St. John and Musician Angels (west) and the Madonna of the Rosary with Child and Putti (south) are attributed to Raffaele Crespi. These two frescoes were detached in 1939 because of their critical state of preservation and were never relocated.
On the left wall The Madonna and Child, Saint Gervasius and Protase, Saint Catherine and Justina (1544) is by Giacomo Francia, while the magnificent Polyptych of the Assumption is by Gaudenzio Ferrari.
Bell Tower
The brick bell tower dates back to 1584. In 1874 Giuseppe Tettamanti, provost of Busto Arsizio, commissioned Carlo Maciachini to design an elevation of the bell tower. The project was meant to be completed the same year, but due to disputes with the State Property Authority, work could not begin until March 23, 1886. At first, the ancient 16th-century tower was clad with a high zoccolo of granite and a plaster to simulate a rusticated ashlar (removed with the 1939-43 restorations). The top body of the belfry was then added, consisting of a square prism for the clock, echoing the shape of the church plan, the belfry cell, echoing the loggia and jetties of the church, on which an aedicule was built, echoing the church's dome and lantern. These works were completed in 1887 and tested by Maciachini himself on January 15 of that year.[10]
The polychrome wooden statue of the Madonna dell'Aiuto is placed above the altar in the center of the apse space. The simulacrum, dating from 1602, is a work attributed to Fabrizio De Magistris. The statue, which was crowned in 1895 by beatus Cardinal Andrea Ferrari, is protected by a shrine flanked by two 16th-century marble angels. The symmetry and centrality of the figure of Mary (underscored by the twists of the cathedra) highlight the asymmetrical dynamism of the Child, who is placed sideways, as if sliding on the Mother's knee. Thus, the break between the hieraticity of the image of the Madonna and that of the Child, who seems to be coming towards the onlooker, is evident. In this particularity, De Magistris's work constitutes an innovation from traditional iconicity.[11]
Busto Arsizio is a comune (municipality) in the south-easternmost part of the province of Varese, in the Italian region of Lombardy, 35 kilometres (22 mi) north of Milan. The economy of Busto Arsizio is mainly based on industry and commerce. It is the fifth municipality in the region by population and the first in the province.
Gaudenzio Ferrari was an Italian painter and sculptor of the Renaissance.
The Certosa di Pavia is a monastery and complex in Lombardy, Northern Italy, situated near a small town of the same name in the Province of Pavia, 8 km (5.0 mi) north of Pavia. Built in 1396–1495, it was once located on the border of a large hunting park belonging to the Visconti family of Milan, of which today only scattered parts remain. It is one of the largest monasteries in Italy.
The Cappella Sansevero is a chapel located on Via Francesco de Sanctis 19, just northwest of the church of San Domenico Maggiore, in the historic center of Naples, Italy. The chapel is more properly named the Chapel of Santa Maria della Pietà. It contains works of Rococo art by some of the leading Italian artists of the 18th century.
Mantua Cathedral in Mantua, Lombardy, northern Italy, is a Roman Catholic cathedral dedicated to Saint Peter. It is the seat of the Bishop of Mantua.
Santa Maria dei Miracoli presso San Celso is a church and a sanctuary in Milan, Lombardy, northern Italy.
Giovan Battista della Cerva was an Italian painter.
The basilica of San Nazaro in Brolo or San Nazaro Maggiore is a 4th-century Roman Catholic church in Milan, region of Lombardy, Italy.
Santa Maria della Passione is a late Renaissance-style church located in Milan, Italy.
Santa Maria del Quartiere is a Baroque-style church in the quarter of the Oltretorrente of the city of Parma, Italy.
Carlo Francesco Maciachini was an Italian architect and restorer. Born near Varese, he studied in Milan, where he also realized some of his most important works, most notably the Monumental Cemetery (1866). Other notable works of Maciachini are restorations of historic churches in several cities of northern Italy.
The Sanctuary of Santa Maria della Pioggia is a small church, located on Via Riva Reno 122, between Galliera road and Riva di Reno road in central Bologna, Italy. It was once the Oratory of San Bartolomeo di Reno.
The Basilica del Carmine is a 16th-century Roman Catholic church located on piazza Francesco Petrarca in Padua, region of Veneto, Italy. It was made a minor basilica in 1960 by pope John XXIII
The Church of Saint Mary of the Rose is located in Chianciano Terme, Province of Siena, Italy.
Tommaso Rodari was a Swiss-Italian sculptor and architect.
Fabrizio De Magistris was an Italian sculptor active in Lombardy between 1595 and 1602.
The Our Lady of Help is a statue located in Busto Arsizio. It is in the church of Santa Maria di Piazza, Busto Arsizio and it is attributed to Fabrizio De Magistris, designed in 1602, after the Madonna appeared during a plague outbreak in 1576.
The prepositural collegiate basilica of San Giovanni Battista is a Catholic church in Busto Arsizio, dedicated to one of the patron saints of the city. Like the church of San Michele Arcangelo, this building also stands on the remains of a small Lombard chapel about eight metres wide.
The history of Busto Arsizio, according to the hypotheses advanced by some historians and later re-proposed by local history scholars, would have seen its beginnings with the Ligurians. The later presence of the Romans, mentioned by many authors, is shown by the town's urban distribution.
Although it has been characterized in recent centuries as an essentially industrial city, Busto Arsizio counts among its most valuable buildings the numerous monuments of an ecclesiastical nature, testifying to the deep religiosity of its people. Of particular note are the Sanctuary of Santa Maria di Piazza, the Basilica of St. John the Baptist, and the Church of San Michele Arcangelo.
Magini, Giuseppe (1997). Santa Maria di Piazza, un simbolo per Busto Arsizio (in Italian). Busto Arsizio: Mariani Artigrafiche.
Bertolli, Franco (2017). "Santa Maria di Piazza. Il monumento, l'arredo artistico, il culto". Almanacco della Famiglia Bustocca per l'anno 2017 (in Italian). Busto Arsizio: La Famiglia Bustocca. pp.4–39.
Spada, Augusto (2002). "Interventi di Carlo Maciachini a Busto Arsizio". In Luca Rinaldi (ed.). Machiachini: architetto e restauratore. Atti del Convegno di Induno Olona (in Italian). Induno Olona: Comune di Induno Olona.
This page is based on this Wikipedia article Text is available under the CC BY-SA 4.0 license; additional terms may apply. Images, videos and audio are available under their respective licenses.
