«So in the form of a white rose that was shown the holy militia (…) in the great flower came down that is adorned with so many leaves, and then went back where his love always updates». (Dante Alighieri, Divine Comedy, Paradise, Canto XXXI, vv. 1- 2 e 10-12)
The rosewindows, real embroideries of stone placed on the facades of the churches, through their decorations filter the divine light, becoming colored beams that illuminate the aisles. The rose window is a spoke wheel that symbolizes, according to Christian tradition, the dominion of Christ on earth. It is present on the axis of the main nave, sometimes also of the secondary ones or in correspondence of chapels or cross arms. The circular shape and the chromatic range allowed the glass masters to create works of sacred art depicting, in the form of an icon, the most significant passages of the Gospel. The rose window represents the wheel of Fortune: Dante himself defines it as an angelic Intelligence that is based in Empiricism and operates among men through a divine plan. The rosette «clearly explains the cyclical nature of human fortune and confines human time to the immeasurable nature of God’s time».[1]
Its name, used since the Seventeenth century, is an accretive of the Latin term rosa, which suggests its similarity to the structure of the flower. The rose, whose freshness and beauty suggests an ethereal symbol, also recalls the chalice of Christ.[2]
In the Divine Comedy, in the XXXI canto of Paradise, Dante evokes the celestial rose that gathers in paradise the circle of the blessed admitted to contemplate God. The rose window is closely related to the circle, a symbol of perfection and therefore of God, but at the same time it is also the symbol of the labyrinth, which is created by the many plant motifs present within. The labyrinth recalls the inner search and the initiatory journey. It thus represents a link between the human and the divine worlds.
A tour in Valnerina
Umbria, a land of deep mysticism and spirituality, conceals in its territory the footsteps of the saints who changed the face of Christianity. It was in the green hills and highlands of Norcia that found the faith San Benedetto.
In the historic center of the city, stands the Basilica of San Benedetto, built at the birthplace of the saint and then enlarged in the Thirteenth century.
The facade, with a gabled profile, has at the bottom a splayed portal and is enriched at the top by a rose window, decorated with acanthus leaves and accompanied by the symbols of the four evangelists. Unfortunately the church was deeply damaged during the earthquake of 2016, but you can easily guess its ancient splendor.
Of great artistic and architectural interest is the church of San Francesco in Norcia, built entirely in white stone and completed by the Conventual Franciscans.
Valuable is the large rose window that dominates the façade: a frame made with rosettes and round arches, like a real embroidery, pierces the hard stone, revealing its deep meaning through the void of matter but full instead of the divine light.
A few kilometres from the homeland of San Benedetto, in Preci, stands the Hermitage of Sant’ Eutizio. The oldest part of the abbey dates back to the Ninth century and it was completed at the behest of Abbot Tendini I in 1190. The abbey bewitches the viewer as it is entirely built on a terrace between the cliff and the valley below. The rose window, a true jewel of sculpture, prevails over the structure of the church. It is a large circle surrounded by the symbols of the evangelists, typical of Romanesque architecture, but also bears fragments of early medieval sculpture.[3]
Not far from Norcia another magnificent rose window dominates the facade of the church of Santa Maria Assunta in Vallo di Nera. The church dates back to 1176 and has a façade with stone conce typically Romanesque. It is distinguished by a Gothic portal with an ogive decorated with capitals and friezes and in the upper part a rose window punctuated by twelve columns perfectly in line, which seems to be reabsorbed in the wall.
City deeply linked to spirituality, but also to the symbol of the rose window and therefore to the rose itself: Cascia is a religious center linked to the figure of Saint Rita. In this village stands the church of San Francesco, where the Blessed Franciscan Peace was buried in 1270. A prominent element of the façade, made by Comacini masters, is the refined rose window, very particular because it is given by ingranaggio of the two opposing wheels that create a dynamic effect of rotation. It is composed of eighteen columns with capitals and eighteen trilobed arches, which converge towards the center where there is a Madonna with Child. All around acanthus leaves recall classic motifs. The delicacy of the inlay making this rose window is a true masterpiece of the regional sculptural art. The Umbrian Apennines are the silent guardian of the traces of saints and pilgrims, founders of hermitages inspired by the rules of poverty, solitude and simplicity.
A legend says that Saint Mauro, his son Felice and their nurse passed through Sant’Anatolia di Narco. The population asked Mauro for help to be freed from a dragon that infested those places. Saint Mauro, thanks to divine help, faced and killed the dragon. The episode of the liberation is depicted in the frieze of the façade. In it there is also the rose window, among the most interesting examples of Umbrian Romanesque sculpture, with two rows of columns, inscribed in a square with the apocalyptic symbols.
The symbology of the facade is exemplary: the rose window represents Christ, who brings light to the world, identified with the Church, through the voice of the four evangelists who allowed the knowledge.[4]
Finally, one of rose window most particular is that in the church of San Salvatore in Campi di Norcia. The tragic earthquake events of 2016 led to the collapse of much of the building and the destruction of the bell tower dating back to the sixteenth century. The remaining walls have been consolidated to secure the portions of frescoes that will be reinstated in the recovered parts.
The church, nestled in the Umbrian hills, is a rare example with two naves, with two doors and two rose windows, moreover not aligned with the line of the roof. Particularly interesting is the large outer ring of the rose window, carved with acanthus branches arranged in a sinuous spiral rotation. Basilicas, abbeys and small churches, surrounded by green Umbrian typical valleys, magical and mystical places at the same time, but also essential guides that help the visitor, spectator or hermit to grasp the purest and deepest part of Umbria. These and many other places give back precious jewels of a past time. Unfortunately many of them were deeply affected by the earthquake of a few years ago, but very often art and beauty conquer the silence that descends on the rubble, bringing these places back to their ancient beauty.
[1] Claudio Lanzi, Sedes Sapientiae The symbolic universe of cathedrals, Simmetria edizioni, Roma, 2009, pag. 162.⇑
[2] M. Feuillet, Lexicon of Christian symbols, Edizioni Arkeios, Roma, 2006, p. 97-98.⇑
[3] L. Zazzerini, Umbria Eremitica. Ubi silentium sit Deus, Edizioni LuoghInteriori, Città di Castello, 2019, pp. 124-131.⇑
[4] L. Zazzerini, Umbria Eremitica. Ubi silentium sit Deus, Edizioni LuoghInteriori, Città di Castello, 2019, p. 109.⇑
Giulia Venturini
Ultimi post di Giulia Venturini (vedi tutti)
- Daniele Bricca: “Oggi diffondere un messaggio con la fotografia è difficile, perché siamo sommersi da immagini” - Settembre 10, 2024
- Inside Monet, live experience immersiva nelle opere e nalla vita del pittore francesce - Luglio 8, 2024
- Giorgio Lupattelli, la sua arte un mix tra cinema, web e Perugino - Maggio 8, 2024
