Bologna Santa Maria del Baraccano
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Santa Maria del Baraccano Photos
About Santa Maria del Baraccano
This is one of the most well known churches in Bologna built on to the ancient city wall. Originally, it was a small chapel built in 1403 for the sole purpose to protect a weather beaten painting of the Madonna and Child commissioned by Giovanni I Bentivoglio. It was Lippo di Dalmasio who painted it in 1402 on the wall of the old tower called barbacane.
In 1418 the Brotherhood enlarged the church building and added a shelter for the pilgrims.
Towards the end of the 15th century Giovanni II Bentivoglio reconstructed the church as it is now and Francesco del Cossa from Ferrara repainted the Madonna during this same period. On the façade of the building are various friezes and statues of four patrons of Bologna: Petronio, Domenico, Francesco and Agricola.
In 1524 Legato Averoldi had two more lateral chapels added in which were placed statues of the Madonna by Alfonso Lombardi and ones already there from the 1400s made by Sperandio.
In this first chapel on the right is this painting of angels called ‘Sansone’. It was executed in the 18th century by Giuseppe Marchesi.
This gilt altar piece which is richly carved represents the vision of St Gregory Magno Pope with an angel who puts the sword in its sheath during the penitential procession against the plague in Rome between 590-604 AD.
On the altar here is this beautifully framed work of art by Frederico Zuccari dating to the late 1500s. Baglioni painted the frescoes late 1500s.
Aretusi painted the frescoes on the wall here around late 1500 early 1600s that are now unfortunately badly discoloured.
Grave stones recovered from inside the church belonged to devotees, benefactors and other well known people who paid tribute to the Virgin Mary or indeed those who left a legacy to the sanctuary while some even recount stories of deeds attributed to the Holy intercession of the ‘Baraccano Virgin of Peace’.
In 1682 Agostino Ambrosi constructed this slim dome which is now being renovated and some art work restored.
Under this tribune is a 15th century wooden statue of Christ on the cross. It’s quite rough looking but evocative nevertheless. Underneath it is a wooden altar containing reliquaries of various saints in a glass urn.
In 1512 Sigismondo Bargellesi took care of the marble work inside this main chapel here which was designed by Arriguzzi. Bargellesi made the beautiful entrance arch and the very ornate marble candlesticks in 1514. The decoration on the vault was executed in 1767.
The painting of the Madonna and Child here was originally completed by Dalmasio but Cossa restored it in 1475. Angels above the Madonna’s head hold an inverted shell displaying an excellent background of the Schifanoia cycle. At the sides of the painting are two virile and delicate angels with candle sticks.
The golden wood altar underwent various alterations, the last demonstrating a style that places it around the 17th century. On the right here is a wooden statue of St Rocco partly recessed in the wall attributed to Lombardi while on the left here is a wooden statue of St Sebastian.
Under the left tympanum here is this 17th century organ well placed for the acoustics of the church. Below it is another chapel with a wooden altar containing more relics of saints and martyrs.
This first painting of St Carlo Borromeo was completed by Lucio Massari in the early 1600s while above it is this exquisite wooden painting of the Holy Family by Prospero Fontana.
An incredible story is linked to the Madonna here otherwise known as the ‘Virgin of Peace’. In 1512 Bologna was besieged by Spanish troops on behalf of Pope Giulio II. On the night of February 1st the troops attacked the Baraccano attaching a mine in order to breach the walls. Parts of the wall collapsed but according to legend it reformed itself and thus it was said that only through Holy intervention that the troops were prevented from entering.
In the center of this last chapel here is this painting illustrating the dispute of St Caterina d’Alessandria. She is portrayed in front of the emperor defending her faith in front of philosophers and wise men before her eventual martyrdom. The strength in the brush strokes is actually indicative of Michelangelo while the overall chromatic effect is stunning.