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The Sacro Monte of Orta was began in
1590, in emulation of the Sacro Monte of Varallo, on the iniziative of the community of
Orta, as a result of the direct intervention and generosity of the Abbot Amico Canobio of
Novara, who encouraged the citizens to undertake the project, and had the first chapel
built at his own expense. Other rich patrons were to follow his example. Between 1593 and
1615, a decisive role in the continuation of the project was played by the Bishop of
Novara, Carlo Bescapè; he was concerned that the complex should be a strictly organised
centre of devotion, in line with the ideas which had inspired the Council of Trento, and
more particulary with the interpretation of the Counter-Reformation given by Carlo
Borromeo in the diocese of Milan.
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For example, he took paints to ensure
that the episodes of the life of St. Francis of Assisi - the chosen theme of the
devotional itinerary - were correctly illustrated, and to encourage the faithful in
devotion and the elevation of the spirit, inspecting every stage of the work in progress
and giving precise instructions as to the scenes to be represented inside each chapel.
Furthermore, he set up a body, the fabbriceria, a kind of committee of works, to
administer the funds which were donated or willed towards the completion of the project.
The overall plan of work, including the choice of the site of each chapel and the lay-out
of the paths and the vegetation, was made by the Capuchin architect Cleto of Castelletto
Ticino, who worked in close collaboration with Bishop Bescapè. The first chapels were
thus executed with small, intimate groups of terracotta figures representing simple
people, and decorated with frescoes whose key characteristic was their descriptive tone,
intended as a clear, easily understandable way of recounting to the faithful the story of
the Saint who had modelled his life on Christ's.
In each chapel, the terracotta groups were usually
separeted from the space where the faithful stood by artistic wooden grills with opening
through which the figures could be viewed. This period in the construction of the Sacro
Monte saw the partecipation of respected established artists from Milan and Novara, such
as the sculptor Cristoforo Prestinari, the painters Giovanni Battista and Giovanni Mauro
della Rovere, known as the "Fiamminghini", Morazzone, and craftsmen who had
worked on the sacro Monte of Varallo, such as the statuary Giovanni d'Enrico. Towards the
middle of 17th century a new style was introduced into the Sacro Monte: unequivocally
Baroque, grandiloquent, theatrical, characterised by more highly-coloured paintings,
rounded figures, statues in dramatic poses.
Examples of this new taste are chapels XVI and XVII, which were again the work of artists
established in Lombard culturel circles, such as the Nuvolone brothers, Antonio Busca, the
sculptors Dionigi Bussola and Giuseppe Rusnati. Some of the already-completed chapels were
not exempt from this striking new interpretation of the Sacro Monte as a kind of sacred
theatre, and were remodelled accordingly.
Towards the end of 17th century, the Lombard painter Stefano Maria Legnani introduced
early examples of the rococo style, which was to typify the additions of the 18th century:
refined, airy, with colours softening into pale pastel shades.
Later additions and alterations, from the New chapel built towards the end of 18th century
to the reworking of some existing chapels, adhere to the taste for the neo-classic then
current. From the late 18th century the role of Bishop in controlling the Sacro Monte
declined in importance until, along with the old fabbriceria, it ended at the beginning of
this century, when the Burgh of Orta, with the help of the Franciscan friars who serve the
sanctuary, took over the task of routine and exceptional maintenance of the complex.
In 1980, the Sacro Monte of Orta was by Regional law declared a protected area with the
title of Special Natural Park.
website: click here (in italian)
images of Sacro Monte: click here
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