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The Early Presence of the Christian Church in Faenza Is Proved by the Participation of Its Bishop Costanzo in the Ro- Man Synod

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The Early Presence of the Christian Church in Faenza Is Proved by the Participation of Its Bishop Costanzo in the Ro- Man Synod The early presence of the Christian Church in Faenza is chapel are an example proved by the participation of its bishop Costanzo in the Ro- of the eclectic style of man Synod of AD 313, but the information concerning the the 19th century. The Episcopal Residence and the Cathedral is more obscure. Oc- two paintings on the casional findings convinced the scholars that the sacred place walls, by T. Dal Pozzo, depict scenes of the discovered in a nearby area was the site of the first cathedral. saint’s life. The oldest cathedral on which we have definite information th 4. S. Emiliano was built there during the late 9 century. It was dedicated to 6 7 8 St. Peter Apostle and was located on the podium (a small hill) This Scottish bishop already occupied by a pagan temple. died in Faenza on his way back from Rome 5 9 and has been vener- The idea to rebuild the Cathedral in the same area and, partial- ated here since 1139. ly, on the very foundations of the ancient one, was conceived The saint’s remains by the bishop Federico Manfredi, brother of the princes Car- were placed inside the 4 15 10 lo and Galeotto. Federico saw the new cathedral as the pivot small monument over of Faenza’s urban renovation. The first foundation stone was the altar which is made laid on 26th May 1474 and Federico monitored the works un- of three marble panels: til he fled from Faenza in 1477. His brotherGaleotto took his in the centre is the Vir- place and when the Manfredi family died out, the construc- 3 gin and Child and on the sides the saints Emiliano and Luke, ascribed to the Master of S. Terenzio (about 1462). The two tion works were continued by the local community. The archi- neo-classical statues represent Hope and Prudence allego- tect of the cathedral was Giuliano da Maiano (1432-1490), a 16 11 ries. master craftsman who had learnt his skills from the teachings of Filippo Brunelleschi. The re-interpretation of his drawings 5. Beata Vergine delle Grazie 12 by local workers might explain the presence of local archi- The Blessed Virgin of Graces is the patron saint of Faenza and its diocese. She has been venerated since 1412 when, tectural elements such as the pillars, that are clearly visible 2 while the people of Faenza were suffering the plague, she throughout the church. In 1486, Lapo di Pagno di Lapo Porti- appeared to a woman assuring her she would act as media- giani took Giuliano’s place in supervising the works until 1511. tor with her Divine son Jesus. The broken arrows demonstrate The monument presents an unfinished façade; the marble 14 her effective intervention. The fresco at the centre of the al- facing of the wall, limited to the base, dates back to the first tar, depicting the Virgin of Graces, was originally placed in th half of the 16 century. 1 13 the Dominican church of S. Andrea and in 1760 it was trans- The interior, divided into three naves and a transept, has a ferred to this chapel which was then dedicated to the saints polygonal apse with a bowl-shaped vault in the form of a Peter and Paul. Since that time, the image has been very shell. The square shape is constantly replicated in the inte- popular, especially in the form of small ceramic devotional rior architecture. The copies embedded in the walls of private houses or placed in- It is advisable to begin a tour of the interiors on the left- side aediculas. In the medallion of the ancon, by the circle of system of vaults is hand side with: Toschini, is a representation of the apparition. On the sides, enhanced, in the 1. The Baptistery Chapel there are the statues of the saints Peter and Paul that date transept, by large back to the 17th century. disks with the coat The font was the only one existing in town until the begin- ning of the 20th century. The frescoes in the vault, depict- of arms of the Man- 6. S. Savino ing biblical scenes and prophets, have been ascribed to S. Savino was martyred during the persecution of Diocleziano fredi family, made of G. Tonducci (1562). The decorations of the front scene and and was buried in Spoleto. The cult of this saint flourished majolica and painted side walls were made by P. Saviotti from Faenza (1828). In in Faenza during the beginning of the 15th century, under by the Della Robbia the central panel of the font is the image of St. Peter holding the rule of Astorgio II Manfredi. The widow of Astorgio com- brothers in Florence. a round building in his hand. On the sides are the images missioned the marble sarcophagus in 1468-70 (see the pic- The additions and of two saints. These decorations were done in collaboration ture above). Vasari ascribed it to Benedetto da Maiano, but modifications to the with P. Barilotto from Faenza (1546). recently authoritative scholars have suggested the name of chapels during the 2. S. Carlo Borromeo Antonio Rossellino. As the cathedral was still under construc- tion, the sarcophagus could not be placed in this chapel until centuries reflect dif- The baroque chapel, rich in stuccoes, has an altarpiece with 1616. The decorations on the walls date back to this period. ferent styles belong- the saint adoring the Holy Cross, painted by A. Tiarini; the oil The frescoes were made by B. Marini from Urbino; the paint- ing to various peri- paintings on the walls represent two scenes of the saint’s life ing showing the death of the saint is by F. Fenzoni, while the by F. Fenzoni. ods of artistic pro- stuccoes were made by local skilled master craftsmen. duction in Faenza. 3. S. Pier Damiani Unfortunately, they S. Pier Damiani died in Faenza in 1702. He was a reformer 7. The Main Chapel have greatly altered of the Church, a scholar and a wise man and was venerated The name given to the altar is the same as that of the church: the illumination of in Faenza soon after his death. His remains have been on St. Peter Apostle, patron of the new Cathedral and of the old the cathedral. display in the cathedral since 1826. The decorations of the church. Originally, this chapel was bordered by a straight wall: the present polygonal 12. S. Giovanni Battista apse was added to the The chapel, named after St. John the Baptist, belonged main chapel after 1481. to the Bonaccorsi family, to whom the altarpiece with the The big altar is an early original ancon is dedicated. The “sacred conversation” project by the architect (in the picture on the left) represented in the painting was G. Pistocchi from Faen- made by Innocenzo da Imola (1526) in the style of Raphael. za (1768). In the chancel The chiaroscuro decorations on the walls are by R. Liverani we can see paintings by (1862). A. Tiarini from Bologna 13. Madonna della Neve THE CATHEDRAL and four golden tablets The ancon, at the centre of the chapel, is original and dates ascribed to late gothic back to the 16th century, but the painting by the brothers masters. In the vault Dossi from Ferrara, was replaced in 1752 with a copy made there is a large ceramic by V. Biancoli from Cotignola. On the left-hand side we can Faenza disk with the coat of admire the funerary monument of Cav. Bosi, made by the lo- arms of the Manfredi cal sculptor P. Barilotto (1539). family, by Andrea della On the front wall we can see a terracotta bas-relief represent- Robbia (about 1477). ing the Annunciation which was recovered from the ruins of the medieval bridge of Faenza in 1842. 8. SS. Sacramento The chapel in which Other Works of Art the Holy Sacrament is kept is dedicated to the Madonna Other remarkable works of art are the holy water stoup (14), del Popolo. The frescoes, representing episodes in the on the right, by P. Barilotto (1536), the wooden pulpit of the life of the Virgin, are by B. Marini from Urbino; the paint- 17th century and the funerary monument of the General Evan- ing, depicting the mystery of Epiphany, is by F. Fenzoni. gelista Masi (Massi) (15), governor of Romagna who died in The ancon, the altar and the tabernacle were made by 1664, by an unknown sculptor belonging to the Roman Ba- Pietro Tomba from Faenza at the beginning of the 19th century. roque School. Because of the skeleton holding 9. Beato Nevolone the banner that carries The Blessed Nevolone from Faenza was venerated soon after the inscription, people his death in 1280. The frescoes representing some episodes call this monument “Jac- of his life are by A. and D. Barbiani (1765); the altarpiece was mena”, which means made by F. Gessi (17th century) from Bologna. death in the local dia- lect. Another important 10. SS. Crocifisso work of art belonging The dedication of this chapel dates back to 1480. The wood- to the ancient heritage en Cross was made by an unknown German Master. The wall th of the cathedral is the decorations are by the Liverani brothers and T. Dalpozzo (19 painting depicting the century). The fresco with Virgin and Child was made by the Dead Christ adored by Florence workshop of Biagio d’Antonio in 1480, while the two angels (16) (see the 17th century picture representing S. Sebastiano is by the Bo- picture on the right) by lognese School.
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