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Santuario della Madonna di San Luca
This Church called ‘Santuario della Madonna di San Luca’, located on top of Guardia Hill, is one of Bologna’s most striking images from afar. San Luca was designed by Carlo Francesco Dotti between 1723-1758 and eventually consecrated in 1765. His son Giovanni Giacomo built the two lateral tribunes either side of the main building in 1774.
These two statues just before the entrance were executed by B. Cametti in 1716.
Records show that an earlier church existed on this hill in 1194 while during the XV century a small chapel with a bell tower existed on this spot.
The indoor structure with an elliptic plan opens up in a Greek cross ending with the main altar standing before the chapel of the Virgin.1
In 1742 Giuseppe Cassioli started these magnificent frescoes on the dome which were only completed in 1922.2 They represent the Invocation of the Madonna, the Baby Jesus and Pope Benedict XV.
Along the left side here is this first altar displaying a Crucifix and two statues of the Madonna and St John by Angelo Piò dating to the mid XVIII century. Paintings of saints and prophets hang on either sides of these altars, although not shown here, are by Nicola Bertuzzi and probably date to mid or late 1700’s. Stuccoes or plasterwork that decorate the altars are the work of G. Calegari.
This second altar shows the Virgin surrounded by the nine patron saints of Bologna. It was completed by Donati Creti early 1700’s.
Above the third altar is a canvas illustrating the Assumption of Mary into Heaven with saints Peter and Paul by Francesco Pavona.
These frescoes above the main chapel here are the work of Vittorio Bigari which he completed during the first phase of construction. They represent the Madonna, St Luke and the Glorification of the Virgin. The chapel is further enhanced with rich decorative work and rare marble as a consequence of it being redesigned by Angelo Venturoli. Cardinal Oppizzoni consecrated it on the 10th of October 1815. Bronze candle sticks on the altar substitute the original silver ones taken away by Napoleon.
It’s possible to visit the apse where the sacred Byzantine image of the Madonna and Child is situated. It’s believed to date to around the XII century having been painted by San Luca (St Luke). It’s housed behind a precious plate of silver chiseled out by the Flemish sculptor Jan Jacobs from Brussels in 1625. Precious jewelry that decorates the image was donated by various cardinals and Pope Pio IX.
Since 1433 the venerated image has been brought down to Catedrale di San Pietro (St Peter’s Cathedral) in the centre of Bologna as part of an annual pilgrimage.
Over on the right side of the nave is this first altar displaying a very valuable painting of the ‘Madonna of Rosary’ by Guido Reni dating to the early XVII century.
In this little chapel next door are these fine terracotta figurines representing ‘La Pietà’ (Mercy) by Giuseppe Mazza dating to late 1600’s or early 1700’s.
The middle altar here is decorated with this large work of art by Donato Creti and illustrates the Crowning of the Madonna.
At the last chapel nearest to the entrance is this work of St John V by Giovanni Viani from the late XVII century. It shows a Polish ambassador holding a pile of earth from the Coliseum constituting the reliquaries of martyrs.
In the left corner of the church behind the main altar is the main sacristy. There are two very large canvases executed by G. Domenico Pestrini dating to the early 1700’s. This one represents a stolen image by Venetian merchants that was brought back to San Luca. Underneath it is this ancient work of art by Orazio di Jacopo representing the Virgin between several saints.
On another wall is the second large painting by Pestrini. It recounts the story of the Sacred image being delivered to the pilgrim Teocle Kmania. And finally, above the sacristy altar is this last famous masterpiece by Francesco Barbieri otherwise known as Guercino. Dating to the mid XVII century, it depicts Jesus appearing before his mother.
References
2 Costa, Tiziano – Poli, Marco, Conoscere Bologna, Bologna 2005, pp300-301.
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