Sanctuary of Santa Maria della Steccata

The Sanctuary of Santa Maria della Steccata, or Basilica di Santa Maria della Steccata as it is known locally, is an architectural and historical gem nestled in the heart of Parma, Italy. This stunning sanctuary, with its Renaissance and Baroque forms, has been a place of worship and pilgrimage for centuries. Its rich history, artistic treasures, and spiritual significance make it a must-visit destination for anyone exploring this charming Italian city.

The History of the Sanctuary

The origins of the Sanctuary of Santa Maria della Steccata can be traced back to a humble oratory built in 1392. This oratory was constructed to house a revered fresco of John the Baptist, which adorned the exterior wall of a house on what is now Strada Giuseppe Garibaldi. Over time, the oratory became the headquarters of a Confraternity dedicated to the Annunciation of the Virgin Mary, whose mission was to provide dowries for poor and fatherless girls.

In the late 14th century, a fresco of a lactating Madonna was added to the oratory's facade. This image quickly became an object of veneration for the people of Parma. Due to the large number of pilgrims visiting the site, a wooden fence, or steccata, was erected to manage the flow of visitors. This gave rise to the sanctuary's name, Santa Maria della Steccata.

In 1521, the Confraternity decided to build a grand sanctuary to better protect and honor the precious image. The construction of the sanctuary began on April 4, 1521, under the guidance of architects Bernardino and Giovan Francesco Zaccagni da Torrechiara. However, due to some disagreements, they were replaced in 1525 by Gian Francesco d'Agrate. The central dome, a distinctive feature of the sanctuary, was designed by Antonio da Sangallo the Younger, who was sent to Parma by Pope Clement VII for military architecture projects. The church was consecrated on February 24, 1539, by Cardinal Gian Maria Ciocchi del Monte, the papal legate to Parma and Piacenza.

In 1718, Pope Clement XI transferred the sanctuary from the Confraternity to Duke Francesco of Parma and Piacenza, who made it the headquarters of the Constantinian Order of Saint George. This order, an equestrian order, had been ceded to the Farnese family in 1699 by Andrea Flavio Comneno.

Architectural Marvel

The Sanctuary of Santa Maria della Steccata is designed in the shape of a Greek cross, with arms extending along the cardinal axes and ending in four large, symmetrical apses. Four quadrangular chapels, always intended for worship, are situated between the arms. The design of the sanctuary is reminiscent of Bramante's plan for St. Peter's Basilica in the Vatican, a fact noted by Giorgio Vasari in his Lives of the Artists.

The central dome, a masterpiece by Antonio da Sangallo the Younger, is of clear Roman inspiration. The structure's layout, including the lack of a bell tower, bears similarities to the Church of the Consolation in Todi, although there are notable differences. For instance, barrel vault sections are inserted between the arches of the crossing and the apses, and chapels are located at the exterior corners of the cross. This design ensures that the structural forces are not directed towards the external walls, unlike in Todi.

The exterior of the sanctuary can be divided into three levels: the apses and corner chapels at the first level, the roof and presbytery at the second level, and the dome at the third level. The placement of the windows is carefully planned to enhance the interior paintings, with light gradually diffusing throughout the church. The intermediate bays are slightly shadowed, the apse receives ample diffuse light, and the dome is bathed in intense light. The use of gold leaf on the transverse arches and gilding on the copper rosettes of the barrel vaults plays a crucial role in this lighting effect.

The original main entrance, which opened onto the southern square, was relocated to the eastern apse in the 18th century.

The Interior Treasures

The interior of the sanctuary is adorned with 17th-century frescoes by Parmese artists. The initial decoration was entrusted to the renowned artist Parmigianino, who managed to complete only the exquisite frescoes of the eastern arch depicting the Three Wise Virgins and Three Foolish Virgins. The work was continued by Michelangelo Anselmi, who painted the Coronation of the Virgin in the eastern apse, based on a design by Giulio Romano, and by Bernardino Gatti, who depicted the Assumption of Mary in the dome. Frescoes by the Parmese artist Aurelio Barili can also be found within the sanctuary.

The sanctuary also boasts impressive woodwork, including the sacred furniture of the noble sacristy, now part of the Constantinian Museum of the Steccata, and the choir stalls of the knights.

Notable Burials

The Sanctuary of Santa Maria della Steccata is the final resting place for several notable figures. In 1813, the ashes of Ottavio Farnese were moved here after the demolition of the Church of San Pietro Martire. In 1823, under the direction of Maria Luigia of Austria, a crypt was created to house the tombs of the dukes and princes of the Farnese and Bourbon-Parma families, with their ashes transferred from the Church of Santa Maria del Tempio. In 1851, a Pietà by Tommaso Bandini was placed near the entrance, dedicated to Maria Luigia. In 1905, the funerary monument to Adam of Neipperg, Maria Luigia's morganatic husband, created by Lorenzo Bartolini in 1831 for the Church of San Ludovico, was also relocated here.

The Organs

The sanctuary is home to two remarkable organs. The first, built by Benedetto Antegnati in 1574, replaced an older instrument from another demolished church. Claudio Merulo, who served as a court harpsichordist at Santa Maria della Steccata in 1591, requested significant modifications to the organ for better performance of his music. The instrument was later restored and expanded by other members of the Antegnati family and by Antonio Negri-Poncini in 1778. After years of neglect, it was restored in 1970 by the Tamburini company. This organ features a fully mechanical transmission, a single keyboard with a broken first octave, and a 19-note pedalboard with a broken first octave.

The second organ, built by Carlo Vegezzi-Bossi in 1892, is located above a gallery in the apse. It replaced the Antegnati organ as the primary instrument and was restored in 1940 by Giovanni Tamburini, who replaced the original mechanical transmission with a new mechanical system. In 1970, Tamburini expanded the organ and combined it with the older one, adding a new console. This organ has an electric transmission, four 61-note keyboards, and a 32-note pedalboard.

In conclusion, the Sanctuary of Santa Maria della Steccata is not just a place of worship; it is a testament to Parma's rich history, artistic heritage, and spiritual devotion. Its stunning architecture, exquisite frescoes, and historical significance make it an essential stop for anyone visiting Parma. Whether you are an art enthusiast, a history buff, or a spiritual seeker, this sanctuary offers a profound and enriching experience.