Sacred Art Museum

In 2010, thanks to the work of Monsignore Antonino Treppiedi (archpriest of that time) and at the request of the Bishop of Trapani, inside the Basilica of Our Lady of the Assumption in Alcamo, they realized the Sacred Art Museum of Basilica of Our Lady’s Assumption with the technical consultancy of Pietro Artale and Calogero Mauro Calamia (architects), and the museographic one of Professore Maurizio Vitella.[1]

Sacred Art Museum
Location within Italy
LocationBasilica of Our Lady of the Assumption, Alcamo, Italy
Coordinates37°58′53″N 12°57′55″E
TypeArt museum
Websitewww.chiesamadrealcamo.it

Works

Statue of saint Leonard
Our Lady of Providence (Madonna della Provvidenza)

The museum hosts a lot of paintings, sculptures and jewels coming from Alcamo churches, dating back to the period separating the 13th and 19th centuries,[1] for a total of 150 works that are exhibited in an area of about 400 square metres,[2] derived from the ex oratory of the Holy Sacrament adjoining the church. These works had been sheltered there after the 1968 Belice earthquake (as many churches became unfit for use) by monsignore Vincenzo Regina, archpriest from 1944 to 1991.

These are some of the works inside the museum:

  • The statue of Our Lady of Providence (or "Madonna of Pomegranate"), dating back to the end of the 15th century and assigned to Pietro de Bonitate;[3] this sculpture probably comes from the church of Our Lady’s Crown of Stars,[3] which was pulled down about 60 years ago;
  • crucifix dating back to the first half of the 16th century, put on an 18th-century cross made of a silver leaf;
  • painting of Our Lady of the Rosary with Saint Francis of Assis, Saint Dominic, Saint Thomas of Aquin, Saint Francis of Paola (16th century), assigned to Vincenzo di Pavia;
  • painting of Saint Judas, by Giuseppe Renda (18th century);
  • manneristic paintings of Gaspare Vazzano (called "the lame from Gangi"), among which the Madonna Incoronata with Saint Vito and Saint Bartholomew (1612) ;
  • 19th century paintings made by Giuseppe Patania, 19th century;
  • a fresco by an unknown author representing a carmelitan saint and dating back to the end of the 15th century;[4]
  • two dalmatics dating back to the 14th century;
  • a polychrome wooden statue of saint Leonardo of the first half of the 16th century;
  • a wooden statue of Saint Roch, by an unknown author, (16th century)
  • a wooden statue of Saint Sebastian, by an unknown author, (17th century)
  • an oval painting of San Castrense di Sessa by Filippo Randazzo, (sec. XVIII);
  • a wooden reliquary with the painting of Jesus resurrected, Saint Cajetan and the relics of the 12 apostles, by an unknown author (18th century);[1]
  • a 17th-century artistic monastic comunichino in gilded wood, with a golden iron grating;
  • the heart of Mary and Jesus, made by Giuseppe Renda (18th century);
  • an oval painting with Our Lady of Miracles, by an unknown author, (18th century);
  • an oval painting with Our Lady of Sorrows, made by Filippo Randazzo (the Monocle from Nicosia) dated 1735.[1]
  • a painting made by Sebastiano Bagolino which represents the finding of the image of Our Lady of Miracles kept and venerated in the Sanctuary of Madonna of Miracles in Alcamo;
  • an antiphonary, on an illuminated parchment, in several tomes, dating back to the period between the end of the 15th century and the first years of the 16th century;[5]
  • an 18th-century artistic sedan chair, for the Most Holy Viaticum, in gilded wood, with symbolical subjects painted on its sides, assigned to Vito D’Anna;
  • a holy water stoup dating back to the second half of the 16th century.[6]

Besides these works there are also so many objects of sacred art, among which you can see sculptures, architectural fragments, paraments, holy scriptures, golden and silver jewels.[1]

See also

Notes

  1. "Archived copy". Archived from the original on 2017-09-01. Retrieved 2017-09-03.CS1 maint: archived copy as title (link)
  2. (in Italian) Diocesi di Trapani - Museo della Basilica Maria SS. Assunta
  3. Vitella 2011, p. 37
  4. Vitella 2011, p. 80
  5. Vitella 2011, p. 81
  6. Vitella 2011, p. 111

Bibliography

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