San Francesco church

San Francesco Church, or Chiesa di San Francesco as it is known locally, is one of the most intriguing historical landmarks in the charming city of Fano, Italy. This ancient monument, dating back to the second half of the 13th century, stands as a testament to the city's rich history and architectural evolution. Nestled in the heart of Fano, near Piazza XX Settembre, San Francesco Church is a captivating blend of various artistic styles that reflect the different historical periods it has witnessed.

The Early Days of San Francesco Church

The story of San Francesco Church begins with a papal bull issued by Pope Alexander IV on April 26, 1255, which marked the arrival of the Franciscan order in Fano and the commencement of the church's construction. The bull promised plenary indulgence to those who funded the building efforts. This early phase of construction continued until 1323, as evidenced by a testament from Margherita da Peruzzo, which mentioned that the friars were already conducting rites in the church by that time. In 1336, the church was consecrated by the Bishop of Fano, Iacopo II, alongside Friar Pietro of Pesaro and the Bishop of Senigallia, as recorded in an inscription from 1498.

The Malatesta Era

From 1336 to 1498, Fano was under the dominion of the Malatesta family, originally from Rimini. This period brought prosperity and progress to San Francesco Church. The Malatestas left their mark on the church, including their family crest inscribed on the keys of a Franciscan portico. The church also became a burial site for several members of the Malatesta family, including Sigismondo Pandolfo III Malatesta, his first wife Paola Bianca, and their physician Bonetto da Castelfranco. Additionally, many other noble families chose San Francesco Church as their final resting place, adding to its historical significance.

Changes and Challenges

In the latter half of the 15th century, conflicts arose among Fano's wealthy families over the possession of altars within the church. These altars served both practical and commemorative purposes, with families using them to bury their deceased and to exalt their lineage. By 1606, many of these altars had fallen into neglect, leading the guardian father to demolish most of them. Despite this, the church experienced another period of splendor from 1498 to 1657, during which numerous transformations took place.

The church faced significant challenges in the late 17th century. A devastating earthquake in 1672 destroyed the bell tower, which had been erected in the 14th century. In 1696, a fire in the sacristy caused severe damage, rendering the church unsafe for the friars.

From the 18th Century to Italian Unification

In 1763, the convent underwent a complete renovation, funded by Pope Clement XIV, who had a deep interest in the Franciscan order in Fano, where he had undertaken his early religious studies. The renovation was completed in 1774. However, political turmoil at the end of the 18th century, including the French Revolution, prevented the friars from restoring the church. From 1802 to 1840, the friars were forced to relocate their rites to the convent's refectory, abandoning the church and using it as a warehouse and stable.

Restoration efforts resumed in 1840 under Father Francesco Maria Zamponi, who hired architect Arcangelo Innocenzi to rebuild the bell tower, although it was demolished again in 1874. These efforts, completed on June 13, 1850, resulted in the loss of almost all inscriptions and the remaining altars. The annexation of the Papal States to the Kingdom of Italy around 1870 led to the suppression of many minor orders, including the one in Fano.

The 20th Century and Beyond

Until 1912, the convent served as a military barracks, which was later abandoned. In 1924, there were proposals to demolish the church, which had been damaged by earthquakes in 1916 and 1924. However, these proposals were denied by the superintendent. The church's roof was demolished for safety reasons after the 1930 earthquake, and in 1932, there were plans to convert the church into a national gymnasium for the Opera Nazionale Balilla. Numerous proposals for the demolition of parts of the convent, including the church, were made by the local authorities but were ultimately denied in favor of internal restoration.

By 1950, the Fano city council approved a new general urban plan for the reconstruction of the church. However, after numerous modifications, the project was abandoned, leaving the church and convent in a state of decay due to exposure to the elements and the sale of some interior furnishings, such as the organ, choir, and altar.

The Architectural Marvel

The convent of San Francesco Church features a quadrangular plan with three free sides and a fourth side closed by the church. The buildings occupy an entire block, centrally located within the urban center. The convent is spread over four levels: the basement, ground floor, mezzanine, and first floor. The exterior architecture is simple, characterized by the use of bricks and classical motifs, resulting in a severe yet non-monumental structure devoid of excessive decorative elements. The facade is adorned with brick cornices around the windows and entrance openings, which follow a semicircular pattern and feature a stringcourse. The windows are connected by a continuous parapet, slightly protruding, and flanked by pilasters that extend to the ground. The entire structure is surrounded by a shaped terracotta cornice. The main entrance features a stone door with a classical entablature, architrave, frieze, and cornice. The other two sides of the building have large windows on the first floor, providing illumination to the elliptical hall, which now serves as the city council chamber. This hall, originally used as a refectory, is characterized by a domed ceiling with lunettes and four pairs of ribs resting on a discontinuous entablature, supported by pilasters. The front facade has several bricked-up entrance openings transformed into windows.

The entrance faces Via San Francesco, while the barrel-vaulted hallway leads to a large courtyard surrounded by various rooms. The courtyard, on the ground floor, features four central arches and a series of Tuscan-order pillars on the facade. The back wall of the courtyard, aligned with the facade, has a tympanum and a Serlian window, suggesting an architectural influence from Vanvitelli. The fourth window, facing outward, creates a large opening on the side facing Via Nolfi.

The ground floor houses a room dating back to the time of the Minor Friars, which served as the sacristy. This rectangular room has a central pillar supporting four groin vaults. One side of the room has a curved shape due to the 19th-century reconstruction of the church's apse. The back wall of the courtyard features a short hallway leading to an imperial staircase with a central ramp and two side ramps leading to the upper floor. The structure consists of the staircase and vestibule, both with a square plan. Each side has openings flanked by columns, with blind windows on the lateral sides and an open window on the back, overlooking the staircase and vestibule.

San Francesco Church is not just a historical monument; it is a living testament to Fano's rich and turbulent past. Its walls, though weathered by time and elements, echo stories of faith, power, and resilience. A visit to this ancient church offers a unique glimpse into the history and architectural evolution of one of Italy's oldest cities.