Guided tour of Chapels
1.Chapel of the Passion of Jesus Christ (XVII sec.)
Overall look
The chapel dedicated to the cycle of the Passion, death and Resurrection of our Lord is of great emotion and pathos. The narrative begins with the painting in which Jesus prays wrapped in a dark silence in the Garden of Olives while an angel hands him the bitter chalice of the Cross (2), and then continues with the flagellation at the column (3), works by the Lendi painter Narese Francesco Mosca. Three frescoes among the stuccoes continue the Passion with the crowning of thorns (4), Jesus loaded with the Cross ascending to Calvary (5), up to the Crucifixion (6), works by the Frattense painter Francesco Ferrari. The culmination of the Via Crucis is the deposition of Jesus from the cross « The mourning over the dead Christ » (1). The now cold and helpless body is welcomed into the arms of Mary, the Mother, with the same expression on her Son’s face. To comfort her, Saint John the Evangelist and next to her Mary of Cleopas; at the feet of Jesus stands Mary Magdalene in tears. Against the background of a black sky laden with clouds, Nicodemus descends a ladder after having taken Jesus down from the cross. The pictorial narration is enriched by some allegorical symbols: on the left a man pointing to the crucifix (8), with a scroll bearing a phrase taken from Saint Paul: «(The love that) cannot be spared» (NEC SIBI PARCIT); on the right a female figure difficult to read, perhaps an allegory of divine grace (9). On the apex of the arch an angel extends a scroll bearing the meaning of the Crucifixion: love for sinners, «AMORE (PRO) PECCATO(R)IS» (7), while a black marble plaque on the tympanum bears the title: «CHRISTO CRUCIFIXO PASTORI PRO GREGE PERCUSSO», «Christ crucified (good) Shepherd beaten for (the salvation of his entire) flock» (10). And the Resurrection? the entire chapel is decorated with stucco motifs of acanthus leaves, a plant that has been a Christian symbol of Resurrection since the early Middle Ages.
- FRANCESCO FERRARI,
«Lamentation over the Dead Christ», late 17th century (1675-1699). Oil on canvas (191 x 182cm). Copy of the work «Lamentation over the Dead Christ» by Antonio Allegri, known as Correggio, around 1524. Oil on canvas (157 x 182cm). Conservation location: Parma, National Gallery
- FRANCESCO MOSCA,
«Jesus Christ praying in the Garden of Olives», late 17th century (1690-1699). Oil on canvas, 323 x 128 cm.
- FRANCESCO MOSCA,
«Jesus Christ scourged at the pillar», late 17th century (1690-1699). Oil on canvas, 323 x 128 cm.
- FRANCESCO FERRARI,
“Jesus Christ crowned with thorns“, late 17th century (1686-1689). Fresco, 80 x 45 cm.
- FRANCESCO FERRARI,
“Jesus Christ Carried of the Cross“, late 17th century (1686-1689). Fresco, 80 x 45 cm.
- FRANCESCO FERRARI,
«Jesus Christ crucified», late 17th century (1686-1689). Fresco, 80 x 45 cm.
- FRANCESCO FERRARI,
«Angel with cartouche: Amore (pro) peccato(r)is», (Love for sinners), late 17th century (1686-1689). Fresco
- FRANCESCO FERRARI,
«Male figure, probable allegory of divine Charity: Nec sibi parcit (One does not save money) », late 17th century (1686-1689). Fresco
- FRANCESCO FERRARI,
«Female figure, probable allegory of divine grace», late 17th century (1686-1689). Fresco
2.Chapel of St. Aurelio (XVII sec.)
Overall look
The chapel is dedicated to the martyr Aurelius, as evidenced by the large altarpiece of martyrdom, the work of Francesco Ferrari (1), the carved and painted wooden reliquary (2), the pediment with the marble plaque which reads: « The martyr Aurelius immolated for the (good) Shepherd » (3). Aurelio’s gaze is fixed on the crucifix placed by the Cross on the altar in front of him, a dialogue between the first two chapels. The identification of Saint Aurelius is uncertain : perhaps a soldier killed together with his wife Saint Natalia under Abd al-Rahman II, in Cordova in 852 a.D. (Note the armor of which the martyr is stripped) ; perhaps Aurelius bishop of Carthage, martyred in 430 a.D. Against paganism ; perhaps Aurelius bishop of Asia Minor or Armenia ; perhaps the choice for a holy peacemaker in a Polesine marked by tension between the Serenissima Republic of Venice and the Duchy of Ferrara. The chapel is enriched by the narration of Saint Aurelius comforted by the angels in prison (4) and of Saint Bernardo Tolomei who invokes the intercession of Saint Aurelius on the monastery of San Bartolomeo (5), works by Francesco Mosca. The latter painting has an interesting detail : it depicts the entire monastery at the end of the sixteenth century, with the colors faithfully taken from the restoration of the facade in 2017.Inside the chapel, among the acanthus stuccos, we find frescoes depicting the theological virtues with symbolic motifs : Faith (6), a woman dressed in white with the Cross and the Eucharist ; Hope (10), a woman dressed in green with an anchor to hold on to during the storms of life ; Charity (9), a woman who nurses her many children. Alongside the three theological virtues we also encounter the evangelical counsels of obedience and poverty (7), symbolically represented by two women : the first with a yoke on her shoulders, the second as a beggar with a stone at her feet. The woman next to Faith (6) could then be an allegory of chastity, the completion of the three evangelical counsels. A fresco with three angels who send down the palm for the martyrs, the lilies for the virgins, and the flowers for all the saints bear the symbolic language of the crown of the saints (8), while at the top of the arch another angel carries the title of the entire chapel, taken from psalm 115 : “Precious in the eyes of the Lord is the death of his faithful” (11).
- FRANCESCO FERRARI,
«Martyrdom of Saint Aurelius», 17th century (1686). Oil on canvas, 193 x 184 cm.
- ANONYMOUS,
Altar of Saint Aurelius, 17th century. Sculpted and inlaid polychrome marbles, 95 x 250 x 59 cm.
- ANONYMOUS,
Fastigium of the altar of Saint Aurelius, 17th century.Sculpted polychrome marbles and modeled stucco. At the center of the broken ellipse pediment, supported by the Corinthian columns, there is a plaque: «AURELIUS MARTYRI / QUI PRO PASTORE / MACTATUS».
«To Aurelius martyr sacrificed for the (Good) Shepherd».
- FRANCESCO MOSCA,
«St. Aurelius in prison comforted by angels», late 17th century. Oil on canvas, 323 x 131 cm.
5.FRANCESCO MOSCA,
«San Bernardo Tolomei invokes protection of Saint Aurelius on the monastery of San Bartolomeo», late 17th century. Oil on canvas, 323 x 131 cm.
- FRANCESCO FERRARI,
«Allegory of Faith and of chastity”; 17th century (1686). Fresco.
- FRANCESCO FERRARI,
«Allegory of obedience and of poverty“; 17th century (1686). Fresco.
- FRANCESCO FERRARI,
«Three angels with palm, lilies and crown of flowers»; 17th century (1686). Fresco.
- FRANCESCO FERRARI,
«Allegory of Charity»; 17th century (1686). The scroll bears the phrase: «OPERIO NOXA», “(Charity) covers a multitude of sins” (1Pt 4:8).
- FRANCESCO FERRARI,
«Allegory of Hope», 17th century (1686). In the scroll is the sentence: «TEN(E)T IN ABSENS» «(Hope) remains in absence».
- FRANCESCO FERRARI,
«Angel with cartouche», 17th century (1686). The scroll bears the following phrase: «PRETIOSA IN CONSPECTU DOMINI MORS SANCTO-RUM EIUS», «Precious in the eyes of the Lord is the death of his faithful» (Psalm 115:17). Fresco.
3. Chapel of San Benedetto
Overall Look
The chapel is dedicated to the father of Western monasticism, Saint Benedict of Norcia, and to his first successors in the leadership of the monastery of Montecassino, the abbots Saint Mauro (4) and Saint Placido (6). The beautiful emerald columns of the altar (2), surrounded by bunches of grapes and vine shoots, evoke the Gospel passage: «I am the vine. You are the branches. If one remains united to me and I to him, he produces much fruit” (Gv 15,8), a close link between the monastery of San Bartolomeo and Benedictine monasticism.
In the center we find the painting by the Veronese painter Giovanni Murari, who composed the work when he was just seventeen, depicting Saint Benedict in the transition from earthly life to eternal life, which took place on 21 March 547 AD. (1). The now exhausted body of the holy elder lets a young child soul ascend; around him the brothers keep watch with the lamps lit, wearing the candid cocolla, the Benedictine monastic habit. Just above, on the pediment of the altar, three angels bear four Benedictine insignia: the mitre, the crozier, the stick that casts out the devil, the book of the Rule, which can be summarised in the Ora et Labora, «Pray and work: God is here without delay» (3). Under the arch we find some frescoes dedicated to the life of Saint Benedict (8,9,10).
On the right wall, above the statue of San Placido, a fresco describes a shipwreck (7), in reference to the legend of the martyrdom of San Placido at the hands of the Aryan vandal pirates in Sicily. On the left wall, above the statue of San Mauro, a fresco describes the rescue of San Mauro from drowning thanks to San Placido (5). Water is a recurring symbol in the chapel, also underlined by the iconography of the river landscapes placed on the arch (12,11,13). In front of Saint Benedict, in the opposite chapel, stands a reformer of Benedictine monasticism, Saint Bernardo Tolomei.
1.GIOVANNI MURARI,
«The transit of Saint Benedict of Norcia», end of the 17th century (1686), oil on canvas, 248 x 182 cm.
2.GIOVANNI FASOLATO,
“Altar in the chapel of San Benedetto“, 18th century (1707). Sculpted and inlaid polychrome marbles. Canteen dimensions: 102 x 220 x 65 cm.
3.ANONYMOUS,
“Fastigium of the altar of San Benedetto da Norcia“, 17th century. At the center of the broken pediment is the symbol of the Olivetan congregation.
4.ANONYMOUS,
“Sculpture of San Mauro abbot“, 18th century. Modeled stucco, height 180 cm.
5.PIETRO ZAMPIERI,
«San Mauro saves San Placido from the waters», end of the 17th century (1684). Fresco.
6.ANONYMOUS,
“Sculpture of Saint Placidus martyr and abbot“, 18th century. Modeled stucco, height 180 cm.
7.PIETRO ZAMPIERI,
«Shipwreck», late 17th century (1684). Fresco. PIETRO ZAMPIERI, «St. Benedict Preaching to the Shepherds», late 17th century (1684). Fresco.
8.PIETRO ZAMPIERI,
«Prophecy of Saint Benedict to his disciples», end of the 17th century (1684). Fresco
9.PIETRO ZAMPIERI,
«Saint Benedict inspired by angels», late 17th century (1684). Fresco
10.PIETRO ZAMPIERI,
«River landscape with architecture», late 17th century (1684). Fresco
11.PIETRO ZAMPIERI,
«River landscape with architecture», late 17th century (1684). Fresco
12.PIETRO ZAMPIERI,
«River landscape with architecture», late 17th century (1684). Fresco
- Chapel of St. Bernando Tolomei (XVII sec.)
Overall look
From Benedictine monasticism to Olivetan reformed monasticism, by the Sienese Saint Bernard Tolomei (1) and his companions, Blessed Ambrogio Piccolomini (4) and Patrizio Patrizi (6); monastic reform approved in 1344 by Pope Clement VI (15). St. Bernardo Tolomei was canonized on April 26 of 2009 by Pope Benedict XVI: “The life of Bernardo Tolomei was a Eucharistic life, entirely dedicated to contemplation, which was translated into humble service of neighbor”. This definition helps us to read the countless frescoes that describe the life of the saint in the contemplative (8,9), ascetic (11,13,14,16) and charitative (5,7,10) dimensions. The altar dedicated to the founder of the Umbrian congregation bears in its center a valuable painting by the Bolognese painter Giovanni Maria Viani, describes the Saint Bernard freed from the chains of the devil (note the deformed faces at the bottom right, Caravaggesque recall), supported by the Virgin Mary and the Child Jesus.
St. Bernard died in 1348 in Siena, assisting the people who had contracted the plague: the fresco (12) refigures a swan, allegory of the soul of the saint, to his earthly life angelic and peaceful, to its purity, also underlined by the white lily carried in hand by the angel in the lower left. The monastery of San Bartolomeo in Rovigo was given in care to the Olivetan congregation after the suppression of the Humiliati in the sixteenth century. The twisted columns of the altar evoke a maternal bond with the congregation of Monte Oliveto Maggiore, whose symbol of the three mountains, the cross and the two palms of peace, echoes throughout the church.
- GIOVANNI MARIA VIANI,
«Saint Bernard Tolomei tormented by demons and rescued by the Virgin and Child», end of the 17th century (1685).
Oil on canvas (257 x 169 cm).
- GIOVANNI FASOLATO,
Altar of the chapel of San Bernardo Tolomei, 18th century (1707).
Polychrome marbles (102 x 220 x 62.5 cm).
- ANONYMOUS,
Fastigium of the altar of San Bernardo Tolomei, 17th century.
In the center of the broken pediment is a standing angel holding the symbol of the Olivetan congregation.
Carved stone, molded and painted stucco.
- Anonymous,
Sculpture of Blessed Ambrogio Piccolomini abbot,
Modeled stucco (height 180 cm).
- FRANCESCO FERRARI,
«San Bernardo Tolomei among the appe-states», end of the 17th century (1686).
Fresco.
- ANONYMOUS,
Sculpture of the Blessed Patrizio Patrizi abbot, late 17th century.
Modeled stucco (height 180 cm).
- FRANCESCO FERRARI,
«San Bernardo Tolomei resurrects a bricklayer», end of the 17th century (1686).
Fresco.
- FRANCESCO FERRARI,
«San Bernardo Tolomei contemplates the silver ladder», end of the 17th century (1686).
Fresco.
- FRANCESCO FERRARI,
«Saint Bernard Tolomei in prayer in front of Jesus Christ crucified», end of the 17th century (1686). Fresco.
- FRANCESCO FERRARI,
«San Bernardo Tolomei heals a brother wounded in the foot with an ax and frees a woman possessed by the devil», late 17th century (in the cartouche below reads MDCLXXXVI «1686»).
- FRANCESCO FERRARI,
«St. Bernard Ptolemy oppressed by demons contemplates divine justice», late 17th century (1686). Fresco.
- Francesco Ferrari,
«Angels and cherubs with white swan», end of the 17th century (1686).
Fresco.
- FRANCESCO FERRARI,
«Two demons induce St. Bernard Tolomei to leave the hermitage», end of the 17th century (1686). Fresco.
- FRANCESCO FERRARI,
«St. Bernard Tolomei tormented from demons», end of the 17th century (1686).
Fresco.
- FRANCESCO FERRARI,
«Pope Clement VI approves the congregation of the Olivetans», end of the 17th century (1686). Fresco.
- FRANCESCO FERRARI,
«San Bernardo Tolomei preaches the contempt for the world», end of the 17th century (1686). Fresco.
5.Chapel of the immaculate
Overall look
A chapel declined to women, accentuated by the altar columns in pink marble and by silver decorations on the altar jambs. Initially dedicated to Saint Catherine of Alexandria, as evidenced by the paintings with the life cycle of the martyr, works by the Frattense painter Francesco Mosca: Catherine together with Saint Luke, intent on painting the Madonna (4), Catherine in dialogue with the Virgin and the Child (5), Saint Catherine’s refusal to adore pagan idols at the emperor’s court (6), the dispute between Catherine and pagan intellectuals (8), up to the transport of Catherine’s martyred body by angels to the Mount Sinai (7). The altarpiece dedicated to Catherine was moved at the beginning of the eighteenth century to the church of Santa Maria dei Sabbioni (church of the cemetery in Rovigo), to rededicate the chapel to the Virgin Mary, according to the new indications coming from the Council of Trent. The altarpiece in the center depicts «the Immaculate Conception» (1) by the famous painter from Belluno, Sebastiano Ricci, active in Venice, Florence and London. The iconographic theme takes up the woman of the Apocalypse: “Then a grandiose sign appeared in the sky: a woman clothed with the sun, with the moon under her feet and on her head a crown of twelve stars” (Ap 12:1). The colours used prefigure the new eighteenth-century style that will inspire the Tiepolo family of painters. The chapel is in close dialogue with the opposite chapel, dedicated to the Blessed Sacrament, a link between Mother and Son, between generating body and living body.
- SEBASTIANO RICCI,
«Immaculate Conception», 18th century (1730-1734). Oil on canvas (320 x 161cm).
2. ANONYMOUS,
“Altar of the Immaculate Conception chapel“, mid-18th century (1740-1760). Carrara white, Valdagno pink, veined yellow and black marbles (cm 103 x 206 x 60).
- ANONYMOUS,
“Altar pediment of the Immaculate Conception“, mid-18th century (1740-1760). White Carrara marble, Valdagno rose and modelled stucco.
4.FRANCESCO MOSCA,
«Saint Catherine of Alexandria and Saint Luke», second half of the 17th century. Oil on canvas (320 x 162cm).
5.FRANCESCO MOSCA,
«Madonna and Child with Saint Catherine of Alexandria», second half of the 17th century. Oil on canvas (320 x 162cm).
6. ANONYMOUS,
«Saint Catherine of Alexandria refuses to adore pagan idols», first half of the 18th century, fresco.
7. ANONYMOUS,
«Saint Catherine of Alexandria transported by angels to Mount Sinai», first half of the 18th century, fresco.
8. ANONYMOUS,
«Disputation of Saint Catherine of Alexandria with the sages of the Empire», first half of the 18th century, fresco.
9. 10. 11. ANONYMOUS,
«River landscape with architecture», first half of the 18th century, fresco.
12. 13. ANONYMOUS, «Angel with flower and fruit decorations», first half of the 18th century. Oil painting on canvas.
6. Chapel of the Blessed Sacrament (XVII sec.)
Overall look.
The decorations on the jambs, in golden volutes, indicate that we are in the beating heart of the church: the chapel houses the Blessed Sacrament, as it was born as a monastic church the tabernacle was placed laterally. Harmonious is the beautiful compound of the tabernacle (5), according to the baroque dictates of Gian Lorenzo Bernini: the tabernacle, supported by two angels (7,8), suspended in front of a golden cloud, is an octagonal temple that recalls the eighth day, Sunday without sunset (6). The door of the tabernacle, gilded and cantilevered, depicts Moses and the gift of manna in the desert. The theological reading of the Eucharist is remarkable: the statues of Moses (3) and Elijah (4), lying on the slopes, evoke the evangelical narrative of the Transfiguration: “And he was transfigured before them: his face shone like the sun and his garments became white like light. And behold, Moses and Elijah appeared to them, conversing with him” (Mt 17:2-3). Two theories of saints contemplate the Eucharist: on the left the saints Bartholomew and Benedict (9), on the right the saints Agatha and Lucia (10), valuable copies of Girolamo da Carpi, preserved at the Accademia dei Concordi in Rovigo since 1837. The chapel indicates a strong link between the Eucharist, Transfiguration and Resurrection: in the vault, among stuccoes rich in angelic figures, we read frescoes with episodes linked to the Risen One, the encounter with Mary Magdalene (11), the incredulity of St. Thomas (12), and the Risen Christ surrounded by angels (13).
- ANONYMOUS,
«Altar of the Blessed Sacrament», 17th century. White Carrara marble, red Verona marble, sculpted and inlaid polychrome, modeled stucco (98 x 258 x 55 cm).
- ANONYMOUS,
Fastigium of the altar of the Blessed Sacrament, 17th century. White Carrara marble, red Verona marble, sculpted and inlaid polychrome, modeled stucco.
- PIETRO RONCAIOLLI,
«Moses holding the tables of the Law», 17th century (1691). Molded stucco statue.
- PIETRO RONCAIOLLI,
«Elijah holding the scroll of prophecy», 17th century (1691). Molded stucco statue.
- PIETRO RONCAIOLLI,
«Altarpiece», 17th century (1691). Molded, gilded, painted and silvered stucco.
- ANONYMOUS,
«Tabernacle of the altar of the Blessed Sacrament», 17th century. Sculpted and inlaid polychrome marbles, modeled stucco, cast bronze, chiseled and gilded copper.
7. PIETRO RONCAIOLLI,
«Kneeling angels holding up the tabernacle», 17th century (1691). Molded stucco.
- ANONYMOUS,
«Saints Bartholomew and Benedict», copy of an original work of the sixteenth century of Girolamo da Ferrara, known as “Girolamo da Carpi”. Oil on canvas (cm 223 x 190).
- ANONYMOUS,
«Saints Agatha and Lucia» copy of an original work of the sixteenth century of Girolamo da Ferrara, known as “Girolamo da Carpi”. Oil on canvas (cm 223 x 190).
- PIETRO RONCAIOLLI,
«Noli me tangere», late 17th century (1691). Fresco.
- PIETRO RONCAIOLLI,
«Incredulity of St. Thomas», late 17th century (1691). Fresco.
- ANONYMOUS,
«Resurrected Christ with little angels», late 17th century. Fresco.
- ANONYMOUS,
«Angioletto», late 17th century. Fresco.
7.Cappella di Santa Francesca Romana
Overall look
The chapel is dedicated to Saint Francesca Romana, an Olivetan tertiary oblate, wife, mother, widow, dedicated to charity and founder of the Benedictine oblates of Mary, superior of the Tor degli Specchi monastery in Rome. Pope Paul V proclaimed her a saint on May 29, 1608, the only woman ascended to the altars among the Olivetan congregation: for this reason there is a frequent memory of her dedicated to her cult in Olivetan monasteries. The altarpiece (1), the work of the Ferrarese painter Camillo Ricci, a pupil of Scarsellino, depicts Francesca Romana in a black dress and wide white veil, with her hands holding an open book on which is written: TENUISTI MANUM DEXTERAM MEAM ET IN VOLUNTADE TUA DEDUXISTI ME ET CUM GLORIA SUSCEPISTI ME, “You held my right hand and led me in your will and received me into your glory” (from Psalm 72, verse 23). It should be noted that the saint is accompanied by her guardian angel, with his hands crossed on her chest, a subject of strong devotional value starting from the Catholic reform of the Council of Trent. At the feet of the saint we find a basket of bread, evocative of the miracle she performed of the multiplication of loaves and wheat in times of plague and famine, a reference to the tireless works of charity aimed at the poor and marginalised in the center of Rome. The black and white polychrome marble columns echo the colours of Francesca Romana’s dress. Two lateral wooden statues depict the grandparents of Jesus, Saints Joachim (6) and Anna (7), but the scrolls under the niches indicate that other saints had previously been placed: Saint Scholastica, twin sister of Saint Benedict, and Saint Anna. The fresco on the right side (8) depicts an angel displaying the shroud and the symbols of the passion (nuts, pincers, nails…)
1. CAMILLO RICCI,
«St. Frances of Rome and the Guardian Angel», 17th century (c.1624). Oil on canvas (263 x 135cm).
2.GIOVANNI FASOLATO,
“Altar in the chapel of Santa Francesca Romana“, early 18th century (1707). Carved, inlaid polychrome marbles, sculpted stone and stucco (cm 104 X 202 X 76).
3 and 4. “Groups of sculptures in high relief“, end of the 17th century.
5. ANONYMOUS,
“Fastigium of the altar of Santa Francesca Romana“, early 18th century. Sculpted and inlaid polychrome marble, sculpted stone and metal.
6. ANONYMOUS,
“San Gioacchino“, second half of the 19th century. Sculpted, carved and painted wood. The scroll under the niche shows the name of Sant’Anna, created by Antonio Felice Ferrari (1704).
7. ANONYMOUS,
“Sant’Anna“, second half of the 19th century. Sculpted, carved and painted wood. The name of S. Scholastica, created by Antonio Felice Ferrari (1704), is shown in the scroll under the niche.
8. ANONYMOUS,
«Angel with the Shroud and the symbols of the Passion», 19th century. Fresco
9. ANONYMOUS,
«Communion of Francesca Romana», first half of the 18th century. Fresco.
10. ANONYMOUS,
«Central rosette and vegetable scrolls», first half of the 18th century; fresco.
11. ANONYMOUS,
«Male bust with plant decorations», first half of the 18th century; fresco.
12 ANONYMOUS,
«Landscape», first half of the 18th century; fresco.
13 and 14. ANONYMOUS,
«Landscape with architecture», first half of the 18th century; fresco.
8. Chapel of St. Carlo Borromeo (XVIII sec.)
Overall look
The chapel intends to renew the profession of faith in the one, holy, catholic, apostolic Church, after the suppression of the Humiliated for heresy (1571), the entrustment of the monastery of San Bortolo to the Olivetans of Ferrara (1474) and full communion with the Reform of the Council of Trent (1545-1563). Elements of this profession of faith are given by the twisted columns in red stucco (2), evoking an umbilical cord, and by the four Latin fathers and doctors of the church: Gregory the Great (4), Ambrose (5), Augustine (6) and Jerome (8). Even the small frescoes depicting events in the life of St. Joseph, such as the dream of the birth of the Savior (7) and his passage in the arms of Mary and Jesus (9), indicate this entrustment to the Catholic Church.
At the center of the chapel is the late eighteenth-century painting by the Sicilian painter Tommaso Sciacca, «San Carlo Borromeo in dialogue with the Madonna together with the Child» (1). The motto of Saint Charles HUMILITAS, humility, can be read, while two angels offer the saint the episcopal insignia of the pastoral staff and the mitre. In the painting we can glimpse a woman prostrated by pain in front of a dead son: near them a scourge, an allegory of the plague that struck Milan in 1576, an opportunity for Saint Charles to become a neighbor and witness to the virtues of charity. The painting depicts the humble plea of intercession that Charles asks of the Virgin so that the plague subside. Even the fresco depicting the pastoral visit of Saint Charles Borromeo (11) recalls the enormous influence that this saint had during the Catholic reformation, along the entire course of the river Po. Rural landscapes (13,14,15) and floral compositions (10,12,16,17), among the stucco decorations, which indicate a flowering of the Church in a period of transition marked by calamities and internal divisions.
- TOMMASO SCIACCA,
«Madonna with Child and St. Charles Borromeo», end of the 18th century (1794). Oil on canvas (310 x 152cm).
- GIOVANNI FASOLATO,
«Altar of the chapel of San Carlo Borromeo», early 18th century (1707). White Carrara marble, red Verona marble, sculpted and inlaid polychrome (102 x 220 x 64 cm).
3.ANNONIMUS,
«Fastigium of the altar of San Carlo Borromeo», 17th century. Two angels sit above it: the one on the right holds the crozier in his hands, the one on the left the cross. At the center of the frame is a fresco depicting God the Father, holding the globe holding the Cross in his hand. Modelled, painted and gilded stucco.
- ANONYMOUS,
«Statue of Saint Gregory the Great», 17th century. Statue in molded and painted stucco (h. 180 cm).
- ANONYMOUS,
«Statue of Saint Ambrose», 17th century. Statue in molded and painted stucco (h. 180 cm).
- ANONYMOUS,
«Statue of Saint Augustine», 17th century. Statue in molded and painted stucco (h. 180 cm).
- ANONYMOUS,
«The dream of St. Joseph», 19th century. Fresco.
- ANONYMOUS,
«Statue of Saint Jerome», 17th century. Statue in molded and painted stucco (h. 180 cm).
- ANONYMOUS,
«The transit of Saint Joseph», 19th century. Fresco.
10 and 12. ANONYMOUS,
«Still lifes with vases of flowers and little angels», 19th century. Oil painting on canvas.
- ANONYMOUS,
«San Carlo Borromeo on a pastoral visit to the diocese of Milan», 19th century. Fresco.
13, 14 and 15. ANONYMOUS,
«Rural landscapes», 17th century. Frescoes.
16 and 17. ANONYMOUS,
«Angels among decorative motifs vegetables», XVIII century. Oil painting on canvas.
9. High altar and apse.
Overall look
The apse of the church contains an admirable beauty of works by Venetian sculptors and Bolognese painters. Noteworthy are the candle-bearing angels (2,3) by Giusto Le Court, «the Bernini of the Adriatic»; the marble and mother-of-pearl inlays in Florentine commission of the high altar by Antonio Corberelli (1), a painting on stone that echoes the Cantico dei Cantici; the two large canvases related to episodes from the life of St. Benedict of Norcia, by
Francesco Naselli (4.5), copies of Bolognese works by Ludovico Carracci and Guido Reni; «The martyrdom of San Bartolomeo» inspired by Caravaggio, by Benedetto Gennari, nephew of Guercino (12). On the left balcony is one of the last organs of Gaetano Callido (10); the balconies are decorated by Sante Baseggio, a figure sculptor whose sister Felicita is in postulation of sanctity (10,11). The presbytery is completed by two canvases depicting three Eucharistic miracles (6,8) inserted in spectacular stucco frames (7,9). The wooden choir (13), with forty-two seats, evokes the noble monastic history of this place, interwoven with the Ora et Labora
1. ANTONIO CORBERELLI AND GIOVANNI FASOLATO,
“High altar“, 17th century (1691). Work in polychrome and inlaid marbles.
2. and 3. GIUSTO LE COURT,
“Ceripher angel“, 17th century. White Carrara marble (height 150 cm).
4. FRANCESCO NASELLI,
«San Benedetto drives out the devil», early 17th century (about 1612). Oil on canvas (363 x 364cm).
Copy of the original by LUDOVICO CARRACCI: «San Benedetto drives away the devil who prevented the workers from removing a boulder», monastery of San Michele in Bosco in Bologna.
5. FRANCESCO NASELLI,
«Saint Benedict receives the loaves of the peasants», early 17th century (1612). Oil on canvas (363 x 364cm). Copy of the original by GUIDO RENI, «Offer of the loaves to San Benedetto in the hermitage», monastery of San Michele in Bosco in Bologna.
6. FRANCESCO GRANDI,
«The discovery and the adoration of the Ostia», XVII century. Oil on canvas (95 x 254cm).
7. PIETRO RONCAIOLLI,
“Frame“, late 17th century (1691). Stucco modeled with three little angels holding up the curtain and winged putti heads among plant decorations.
8. FRANCESCO GRANDI,
«The Eucharistic miracle of Bolsena and another royal court scene and fire», 17th century. Oil on canvas (95 x 254cm).
9. PIETRO RONCAIOLLI,
“Frame“, late 17th century (1691). Stucco modelled with three little angels holding up the curtain and winged putti heads among plant decorations.
10. GAETANO CALLIDO,
“Organ“(Opus 134, 1778). SANT BASEGGIO, Main altar and apse (17th century) balcony with decorative motifs in relief, XVIII century (1778-1779). Painted wood with metal parts.
11. SANTE BASEGGIO,
“Balcony of the choir loft with decorative motifs in relief“, 18th century (1778-1779). Painted wood with metal parts.
12. BENEDETTO GENNARI, (grandson of Guercino)
“The Martyrdom of Saint Bartholomew the Apostle“, 17th century (1697). Oil on canvas (380 x 266cm).
13. ANONYMOUS,
“Wooden choir stalls with double order“, 18th century; Walnut.
- Counter facade (XVII sec.)
Overall look
The three canvases of the counter-facade create a directrix and a conclusive focal line for the entire iconographic and theological itinerary of the church. The holy apostle Bartholomew patron of the church, the holy Bernardo Tolomei founding father of the Olivetans, the holy Francesca Romana disciple in charity, are three figures that are repeated in the side chapels and in the altarpiece of the main altar. The martyrdom of San Bartolomeo (1) recalls the altarpiece placed in the apse: the same theme of martyrdom painted by Benedetto Gennari is reworked. The apostle, who according to various traditions was martyred either in India, or in Armenia, or in Asia Minor, is about to be skinned under the pagan Armenian king Astyages, while an angel offers him the palm of martyrdom and the crown of glory. A figure in seventeenth-century clothes leads the viewer of every era to contemplate the scene. The altarpiece in the center (2) takes up the fourth altar, dedicated to San Bernardo Tolomei: in the painting the saint receives the cowl, the distinctive monastic habit of the Olivetan congregation, from the Virgin Mary with the Child. A festive choir of little angels and cherubs, of musicians to the rhythm of the organ, viola and lute, two winged putti (children) who offer the monastic rule and the symbol of the Olivetani, form a crown around the saint Bernard, together with his two companions Patrizio Patrizi and Ambrogio Piccolomini. The altarpiece depicting Santa Francesca Romana (3) echoes the seventh altar, dedicated to the Olivetan tertiary oblate. Against the backdrop of seventeenth-century Rome, the healing or resurrection of a helpless newborn son is narrated, presented by his desperate mother to Saint Frances. The three works belong to the same author Giovanni Brunelli (Verona, 1644; Crema, 1722), who worked in the Temple of the Rotonda in Rovigo, in the church of the Madonna della Salute in Este, in the Veronese and Lombard areas, copyist of the painter Paolo Caliari, the Veronese.
- GIOVANNI BRUNELLI,
“The Martyrdom of Saint Bartholomew the Apostle“, 18th century (1683). Oil on canvas (280 x 300cm).
- GIOVANNI BRUNELLI,
«San Bernardo Tolomei receives the monastic habit from the Virgin, accompanied by Ambrogio Piccolomini and Patrizio Patrizi», 18th century (1683). Oil on canvas (280 x 300cm).
- GIOVANNI BRUNELLI,
«Santa Francesca Romana resurrects a child», 18th century (1683). Oil on canvas (280 x 280cm).
11. A peligrimage of opera.
On 21 March 1562 the first stone of the current church dedicated to the apostle Bartholomew was laid, the beating heart of the Olivetani monastery. A visceral link with the basilica of San Giorgio in Ferrara, of which it is a monastic emanation, and a dialogue with the Serenissima Republic: a church between Ferrara and Venice. Inside we find a Renaissance plan with a single nave, with windows that allow light to inhabit the hall, which fully experienced the Catholic liturgical reform of the Council of Trent (1545-1563), as evidenced by the side chapels and the massive altar present in the chancel. A harmonious church, for a number of reasons: first of all, the entire iconographic apparatus was executed in a short time, allowing uniformity of language, in the last decades of the seventeenth century. Harmony given by the stucco decorations, which makes it a flower garden, an echo of Paradise; harmony of the voice, which makes the whole church a perfect acoustic instrument for the monastic liturgy; harmony between the void of the barrel ceiling and the fullness of the side chapels; harmony of light, designed to be indirect and thus create an inner silence; harmony in the pictorial narration between the chapels, a real pilgrimage of the soul. The church of San Bartolomeo was born as a monastic church, as per tradition just outside the city walls, lapped by the course of the Adigetto that crossed Rovigo, dedicated to the flayed saint invoked to protect the leather processing. Five dates are important for this building: 1) on 10 June 1254, when Bishop Guglielmo d’Este granted permission to build a church “Ad onere Dei et Virginis Marie et beati Bartholomei apostoli” by the congregation of the Humiliati. 2) on 21 March 1562, with the laying of the foundation stone of the renovated church, with the new presence of the congregation of Olivetan Benedictine monks, spun off from the monastery of San Giorgio in Ferrara. 3) on April 25, 1810, with the definitive suppression of the Olivetan monastery under the Cisalpine Napoleonic Republic. 4) on 30 April 1844, with the donation of Giacomo Giro to the municipality of Rovigo of the monastery complex to establish social assistance works. 5) 1956, when the church was erected as a parish. The church has some noteworthy works: the two angels in Carrara marble by the Flemish sculptor Giusto Le Court, “The Bernini of the Adriatic”; the main altarpiece by Benedetto Gennari, nephew of Guercino; works by the Venetian painter Sebastiano Ricci and the Sicilian painter Tommaso Sciacca; copies of paintings from the Emilian Baroque school by Ludovico Carracci, Guido Reni, Correggio; the Callido organ and the marble inlays by Antonio Corberelli. They are works and authors who weave a link between this church and Venice, Madonna della Salute, Ferrara, the monastery of San Giorgio, Bologna, the monastery of San Michele in Bosco, the Rotonda Temple in Rovigo and Santa Giustina of Padua.
The position of the chapels presupposes an itinerary: each chapel is in dialogue with the one opposite, and a serpentine path unwinds to grasp the theological depth of the church.
The QR code refers to the parish website, for further information on authors and works.
