For several days now, the eyes of the whole world have been turned to the Vatican and the events taking place there. These are certainly historic moments – the recent death of Pope Francis and the upcoming conclave attract to Italy not only representatives of the Church, but also crowds of pilgrims and tourists who want to witness these important moments for the Catholic Church. Maybe you are also planning a trip to Italy at this special time? Remember that when in Italy, you must visit Loreto.
Loreto is not only a place of pilgrimage, but also a pearl of Renaissance art and architecture. This majestic sanctuary on a hill is one of the most famous pilgrimage sites in Italy.
The basilica, built between 1469 and 1587, is a delightful combination of Gothic and Renaissance styles, with a two-level façade, a soaring dome and a 75-meter bell tower by Luigi Vanvitelli.
Since the city is located near the Adriatic coast, at the time the basilica was built, it was exposed to attacks by pirates and invaders from the Ottoman Empire, who regularly attacked Italian cities and monasteries. Therefore, the builders made sure that the temple could also fulfill a defensive function - thick walls, narrow windows resembling embrasures, massive corner towers were built. There are no protruding elements in the building that could be potential weak points.
Despite its defensive appearance, the whole is harmonious and creates an outstanding Renaissance work of architecture. The proportions, details and decorations make the building not only functional, but also beautiful.
The construction of the monumental basilica, which was to protect the Santa Casa - House of Mary, began in the 15th century. We described the history of the unique relic, the holy house of Nazareth, and its miraculous journey to Italy here. The spiritual treasure that the Holy House undoubtedly is therefore required special protection – not only religious, but also military.
If, while visiting the basilica, you manage to tear your eyes away from the Holy House, you will notice that the rest of the basilica's interior also makes a huge impression. Powerful Gothic vaults rise above the spacious interior, which is decorated with stained glass windows, gilded halos and colourful, intense frescoes.
The main part of the basilica was completed in 1530. Its interior delights with its artistry. Already at an early stage of construction, two octagonal sacristies were decorated by two outstanding Renaissance painters: Melozzo da Forlì and Luca Signorelli. Melozzo painted figures of floating angels, Signorelli focused on the silhouettes of the Evangelists. Their works can still be admired in the sacristies of the basilica in Loreto.
The most magnificent examples of Renaissance sculpture include the marble frame of the Holy House, designed by Bramante and executed by Sansovino. The bas-reliefs refer to both religious themes and the classical heritage – as can be seen in the decorations reminiscent of the “Ara Pacis Augustae” (Altar of Augustus’ Peace), one of the most famous monuments of ancient Rome.
Another masterpiece worthy of attention is the three massive doors of the basilica, made of bronze by the best Tuscan sculptors. The original theme of the sculptures was to be the life of Mary, but ultimately the doors were decorated mostly with scenes from the Old Testament, in accordance with the vision of Pope Sixtus V.
Although the Basilica di Santa Casa is known primarily for its frescoes and marble, the stained glass windows, located mainly in the apse and side chapels, are also worthy of attention. The stained glass windows were made in the 16th and 17th centuries using traditional stained glass techniques, depicting scenes from the life of Mary, as well as saints, angels, Christian symbols and the coats of arms of donors.
Loreto is a place full of contrasts - on the one hand, the modest, smoke-covered stone of the Holy House, on the other - monumental Renaissance architecture, gilding, marble and Baroque splendor. It is a spiritual pilgrimage centre, and at the same time a treasury of Renaissance art and a testimony to the cultural tensions between the sacred and the profane, between faith and art.
