Basilica di San Gaudenzio
|Indirizzo||Via San Gaudenzio 22|
|Apertura||Orari di apertura della Basilica: dalle 8.00 alle 12.00 e dalle 14.30 alle 19.00|
If we desire to give a date to this rebirth, 1590 would be its staring point, year during which Carlo Bescapè becomes bishop of the Diocese.
Bescapè, at the time already San Carlo Borromeo’s secretary, from whom he inherits his cultural activism, proceeds with the Diocese’s reform, re-proposing the Visite Pastorali (Pastoral Visits): a way to attract further attention to the territory; a necessity to enrich and transform churches. An appropriate operation for this land, almost forgotten since the Spanish administration.
Entering the church with one nave, six magnificent chapels appear majestic and accompany us along our way towards the major altar.
The luminous and colourful bursts of light will accompany our trip into Novara’s art. Everything starts from this construction site.
Along this journey of ours through the sixteen-hundreds, it is important mentioning a XVI century polyptych (painting on wood divided into different panels), the Gaudenzio Ferrari Polyptych, kept in the second chapel on the left.
It is a work that taught and inspired many painters who admired it and tried to imitate those “affections” and gestures that made of Gaudenzio the Great architect of this land. Entering the magnificent aisle, on the right, we find the first chapel: the Cappella della Buona Morte (Nice Death Chapel) entirely covered with frescoes depicted by Morazzone. On the altar the decorations and stuccos frame the Deposizione attributed to Moncalvo, painter of whom Bescapè was so fond to commission the chapel’s decoration (chapel situated in San Marco church where he chose to be buried).
We are therefore introduced to the second (in chronological order) chapel by the large canvas depicting the Last Judgement attributed to Morazzone. This work appears dramatic and of great impact, the figures depicted in a gigantic scale and immersed into the flames of hell, among devils occupied with the worst tortures.
The cappella dell’Angelo Custode (Guardian Angel Chapel), was commissioned to another Great of the sixteen-hundreds, Tanzio da Varallo in 1629. The purchaser had asked for a division similar to the one of Morazzone and under the Nazari nobile family sponsorship, as reminded by the headstone on the chapel’s left side. Here the frescoes, joyful in colours and shapes, are in contrast with the dramatic canvas depicting the Sennacherib Battle, where the God sent Angel draws his blood-stained sword and approaches the Sennacherib army in order to exterminate the soldiers in the camp. It is a great piece of work presenting common characteristics with the ones created by Caravaggio. This resemblance testifies Tanzio’s stay in Rome.
The church is also decorated with other works, such as the Cappella della Circoncisione (Fiamenghini works), the Cappella della Madonna di Loreto depicting frescoes attributed to Legnanino and last but not least the Scurolo, a magic site, a hidden chapel where San Gaudenzio’s corpse is held. Here the Baroque style triumphs, with precious marbles, bronzes (the beautiful statues modelled by Carlo Beretta), hard stones and frescoes (Legnanino) of unique richness.
Il Seicento nel Novarese
ATL della Provincia di Novara
Itinerari d'arte nel Novarese.
Il seicento novarese rappresenta un segno stilistico forte che ha caratterizzato l'intero territorio provinciale, con un gusto suo proprio, uno stile inconfondibile che interpreta con fantasia ed estro le forme classiche, fatte di luci ed ombre che costituiscono la sua originalità.
Questa è la teatralità del nostro seicento "devoto": la meaviglia declinata secondo i dettami del concilio di Trento.