Basilica of Santa Maria Maggiore Bergamo
Magistro
Frido
Church and
historical and artistic heritage, the Basilica of Santa Maria Maggiore is the major monument
citizen, when the construction was decided
also to dissolve a vow on the occasion of an epidemic of plague, i
Bergamo people chose a place that was not marginal compared to the ancient one
urban and easily accessible facility, where it already stood
the small church of Santa Maria, consequently the construction work began in 1137
designed by a certain master Frido, represented above the apse
with a bust of a bearded man.
works
of art
Towards the middle of the 14th century Giovanni da Campione had
the task of building the monumental entrance to the north
with
the prothyrum supported by red marble lions, completed
from a tripartite loggia with the statue of Sant'Alessandro
on horseback and on which he was finally added, at the end
of the century, the tabernacle covered with a spire. The porch a
the south is instead supported by white marble lions. The grandiose
Romanesque interior of the Basilica of Santa Maria Maggiore, had to be entirely frescoed
as witnessed in some parts, it was then transformed
by a sumptuous baroque decoration. Over the centuries the
Consorzio della Misericordia Maggiore enriched the Basilica of Santa Maria Maggiore
of works of art based on drawings by Lorenzo Lotto and
the baroque confessional by Andrea Fantoni.
In the past the church, used for
baptisms, it also served as a room for civic meetings.
The opening hours for visits to the place of worship
vary according to the seasons and
visits are not permitted during functions
Construction period
An inscription placed on the portal of the southern entrance of the Basilica of Santa Maria Maggiore, called the White Lions, dates the construction of the basilica back to 1137, but the works are much more likely began in 1157 on the site of a pre-existing 8th century church dedicated to the Virgin, in turn erected over a pagan temple dedicated to the goddess Clemenza, but today they do not exist sources that confirm this fact.
The original plan of the Basilica of Santa Maria Maggiore was a Greek cross with five apses, one central and four on the transept, of which
three remain: the north-west apse was demolished in 1472 by
Bartolomeo Colleoni to make room for his mausoleum.
The part between the central apse and the transept was built first
was not completed in 1185 an altar was consecrated and in 1187 they were completed
the presbytery and the apses on the east side of the transept.
The works slowed down during 1200 due to economic difficulties,
however the blind façade and the atrium were completed.
Exterior Basilica
The external part of the Basilica of Santa Maria Maggiore is characterized by the lack of a central entrance and facade, in fact this is blind as it formed a single wall with the ancient bishop's palace, while the four entrances present in the church are all lateral.
In particular
on the left side, in Piazza del Duomo, there is the so-called door of the red lions with a prothyrum by Giovanni da
Campione and to the left of this, close to the apse, the secondary entrance, between the two doors are
fixed in the wall the ancient measures of Bergamo, the Capitium Comunis Pergami and the Brachium
to which the weavers and traders referred.
To the right of the door stands the Colleoni Chapel with the entrance staircase
delimited by a wrought iron gate.
Also on the right, detached, at the back of the square, is the baptistery.
The side located to the south opens onto Piazza Rosate with the door, again with Giovanni's prothyrum
from Campione, called the White Lions and to the left of this, set back, the Porta della
Fountain of Pietro Isabello.
Interior of the Basilica
The internal part of the basilica retains the Romanesque Greek cross layout with three naves divided by pillars which they end with an apse, but the decoration underwent notable changes in the 17th century according to the baroque style thanks to the expertise of the plasterers Giovanni Angelo Sala and his son Gerolamo.
Above the tapestry representing the Crucifixion, made in Antwerp in 1698 based on cartoons by Ludwig van Schoor, it is Luca Giordano's painting with the Crossing of the Red Sea.
On the back wall, the monument to Gaetano Donizetti, a work by Vincenzo Vela and that of Simone Mayr executed in 1852 by Innocenzo Fraccaroli.
Tapestries, partly made in Florence, hang along the walls and pillars based on a design by Alessandro Allori and partly of Flemish workmanship, which represent scenes from the Life of Mary.
Inside the basilica there is a Carlo Vegezzi-Bossi organ from 1915, restored several times, whose pipes are divided into two boxes placed on opposing wooden choir stalls in the presbytery.
At the beginning of the left nave
of the Basilica of Santa Maria Maggiore
is located, a wooden confessional in Baroque style carved by Andrea Fantoni in 1704.
A 14th century Crucifix hangs on the balustrade of the presbytery.
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An inscription placed on the portal of the southern entrance of the Basilica of Santa Maria Maggiore, called the White Lions, dates the construction of the basilica back to 1137, but the works are much more likely began in 1157 on the site of a pre-existing 8th century church dedicated to the Virgin, in turn erected over a pagan temple dedicated to the goddess Clemenza, but today they do not exist sources that confirm this fact.
The external part of the Basilica of Santa Maria Maggiore is characterized by the lack of a central entrance and facade, in fact this is blind as it formed a single wall with the ancient bishop's palace, while the four entrances present in the church are all lateral.
The internal part of the basilica retains the Romanesque Greek cross layout with three naves divided by pillars which they end with an apse, but the decoration underwent notable changes in the 17th century according to the baroque style thanks to the expertise of the plasterers Giovanni Angelo Sala and his son Gerolamo.
Above the tapestry representing the Crucifixion, made in Antwerp in 1698 based on cartoons by Ludwig van Schoor, it is Luca Giordano's painting with the Crossing of the Red Sea.
On the back wall, the monument to Gaetano Donizetti, a work by Vincenzo Vela and that of Simone Mayr executed in 1852 by Innocenzo Fraccaroli.
Tapestries, partly made in Florence, hang along the walls and pillars based on a design by Alessandro Allori and partly of Flemish workmanship, which represent scenes from the Life of Mary.
Inside the basilica there is a Carlo Vegezzi-Bossi organ from 1915, restored several times, whose pipes are divided into two boxes placed on opposing wooden choir stalls in the presbytery.