CHURCH OF THE MADONNA DELLA PORTA

HISTORY

The current location of the church of the Madonna della Porta was originally the location of the oratory of the nearby church of the Rosario, which had been used after the 16th century as the municipal archives. In 1541, these buildings were torn down when the door to the town was constructed. A resolution dated 23 October from the Prior allowed for the transport of a devotional image of the Madonna – which was previously located in an aedicule outside of the door – to the municipal archives. The archive was transformed into a church dedicated to the Madonna, and called, “della Porta,” because of the proximity to the door – or “porta” – to the town. The devotional image of the Madonna was brought to the church.
From 1621 on, the church hosted “l’arte dei Bifolchi” (the guild of peasants), who added the sacristy with the approval of the town officials. Originally, passersby were able to greet the Madonna through a small window in the right wall of the church. Between the 17th and 18th centuries, the window was forced to be closed. Recent renovations, sponsored by the Associazione Amici di Bagnaia Arte e Storia, and with contributions from the Province of Viterbo, CARIVIT foundation and the population of Bagnaia, concluded in November 2014. These have brought to light the splendor of the decorations of the apse, parts of the sidewall and ceiling.

THE EXTERIOR

The Church of the Madonna della Porta di Bagnaia (VT), is situated in the borgo, within the Piazza Castello. The facade is between the door to the borgo and the surrounding buildings. It was constructed with simple lines and has a small door without decoration. Above the door is a large rectangular window. Placed on the sides of the door are two round windows with small dimensions. On the side that faces the Piazza XX Settembre, opposite the church, you can see the bell tower that houses the church’s small bell. This bell was created by Giovanni Belli in 1726, and has the inscription, “AVE MARIA GRATIA PLENA. IOVAN. BELLI F. A.D. MDCCXXVI”.

INTERIOR

The original flooring of the church is terracotta tile. Six hatches of peperino create two lines that close what were originally burial chambers. The barrel vaults with stucco frames create an effect similar to that of a coffered ceiling. The final part of the ceiling, near the apse wall, is bounded by a “cordolo” (crown-molding), and is decorated by rhombus-shaped losanghe, each separated by a fine line of red-brown stucco. In the exact center of the ceiling is a round stucco clipeo, which depicts the coat of arms of Cardinal Ridolfi, who subsidized restoration in 1616. The walls, devoid of decoration, are separated from the ceiling by stucco molding, decorated with roses, that runs along the entire perimeter. The only decorations on the walls are a series of ex voto. Of particular interest is the large rectangular window inserted into the right wall. Originally, this window allowed passersby to view and greet the image of the Virgin.
On the left sidewall near the apse, two paintings are done on oval pieces of wood, from an unknown artist, which depicts San Crispino or Crispignano and Sant’Isodoro. In the center of the back wall, there is a work of art that shows the image of the Madonna della Porta, located inside a small aedicule above the altar. The fresco shows the Vergine in trono con il Bambino e Angeli. The Child shows the act of blessing with his right hand, and holds in his left hand a scroll inscribed with “PAX VOBISCUM,” in Gothic lettering. Above the throne are two angels with joined hands in the act of adoration. The fresco is of the Umbrian-Laziale school, the artist is unknown, and it is thought to be from the beginning of the 15th century. On either side of the fresco are images. To the left, there is an image of S. Millerio, the first Patron saint of Bagnaia, who is still highly revered, despite the change of Patron saint to S. Rocco.
On the right is an image of S.Isodoro, patron of the farmers, with a background view of the countryside. At the feet of the saint is a scroll that says, “NOS ISIDORE CUSTODI QUI NOSTER ES PASTOR MDCXXX”. Immediately below, in the banner above the door, “RESTAURI CURAVIT,” is written in capital letters. In the apse lunette is a fresco of the Madonna Assunta in cielo con una schiera di angeli. This fresco dates back to the early 17th century, from an unknown artist. In the apse wall, there are two small doors that give access to the sacristy. The sacristy is very small and devoid of decoration. An arch divides the tiny sacristy and creates a small confessional. The confessional uses one of the two doors in the back wall. The door to the confessional has a small square opening that allows communication between the priest and confessors.

Translation by Lauren Williamson, Texas A&M University, enrolled in the USAC Viterbo program at the Università degli Studi della Tuscia.

ESSENTIAL BIBLIOGRAPHY

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Fonti
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