CHURCH OF THE MADONNA DI SAN NICOLA

HISTORICAL NOTES AND DESCRIPTION

The Church of the Madonna di S. Nicola and the adjoining monastery were built in the second half of the 15th century by Mastro Antonio da Como, with the collaboration of some Lombard craftsmen.

The new structure was consecrated and dedicated to the Madonna di S. Nicola on 10 May 1533 by Mons. Lorenzo Pastorelli, Bishop of Bagnoregio; during the ceremony the relics of St. Martin bishop, St. Lidano bishop, St. Antimo martyr were placed at the main altar.

The religious complex, initially entrusted to the secular clergy, at the behest of the local community in 1559 passed to the Eremitani di S. Agostino, who remained there until the Napoleonic suppression of 1810, when it was entrusted to the Episcopal seminary of Bagnoregio until 1873, the year in which it was confiscated by the royal state property and sold to Signor Camillo Onesti. When Onesti died, S. Nicola was inherited by his niece Enrichetta, who, in 1913, sold it to the Poor Clares from the monastery of Saints Simon and Judas of Viterbo, who had been forced to abandon the Viterbo monastic complex.

The church, located outside the city walls, has a gabled façade with a slightly splayed rose window in the center, surmounted by the coat of arms of San Bernardino, and an elevated entrance portal on three decreasing steps, with jambs and fluted architrave. On the portal is a frescoed lunette. The fresco has been almost completely lost, the face of the Virgin is visible in the center and some unrecognizable figures next to it. The style is very similar to the facade of the church of Santa Maria Assunta.

The interior has a single nave with a wooden trussed roof. The presbytery is raised with a peperino balustrade that separates the sacred area from that intended for the faithful, and has, in the center, an altar shrine in gilded stucco. The back wall is characterized by a deep apsidal basin with a cap, completely frescoed, as are all the walls of the church. The narration of the frescoes, made between the 16th and 18th centuries, takes place on three registers. On the first register, starting from the top, inscribed in circles alternating with cherubs and festoons, the Prophets of the Old Testament are painted. On the middle register, on the other hand, scenes from the life of Jesus are painted within eight panels on each wall. On the last register, finally, various representations of a religious nature with scenes of Saints, the Virgin and Jesus, often accompanied by the figures of the patrons or by coats of arms of local families or of the Municipality of Vitorchiano. The Last Judgment is frescoed in the apse. On the counter façade is the wooden choir loft, from the 20th century.

According to Aleandri, the paintings are the work of various artists: “M.o Giustino da Montefiascone, M.o Valentino di Sebastiano da Viterbo, M.o Giovanni and M.o Guido d’Arezzo and M.o Giovanni Francesco d’Amelia”. At the center of the presbytery is the high altar in stucco and masonry from the sixteenth century.

The first scene on the right wall, on the lower register, starting from the entrance, represents St. Dominic with the cross, surrounded by monks, while an angel comes from above. The work, damaged by the installation on the choir wall, is dated 1684 and was created by Ciaccio Francesco, as can be read on the inscription: SANCTES DE RUBEIS / F.F./ MDCLXXXIIII / Franciscus Ciacius Viter / Pingebat.

A splayed niche frescoed with trompe l’oeil follows, within which St. Michael the Archangel killing the dragon is depicted.

Next to it, there is an altar with an arch made in trompe l’oeil, within which a bipartite scene is depicted that presents the Annunciation at the top, while at the bottom is depicted Saint Luke with the ox and Saint Bernardino of Siena. The fresco was painted, as can be read on the inscription above, by the Falcinelli brothers from Celleno, who lived in Vitorchiano in 1564. Above, the family coat of arms is probably visible.

Within an altar with a round arch made in trompe l’oeil, is the image of the Madonna of Mercy crowned by two angels, who with her large blue mantle protects some nursing women. Behind the Virgin are depicted S. Marco Evangelista and San Liberato bishop. Kneeling in front of the scene is the client “Domina Lattaria Burgi di Vitorchiano, who commissioned the painter Mastrugio di Agostino to paint the fresco, to whom he gave twelve ducats de carlini, so that by August 1514 he painted this Madonna together with the fresco with St. Michele Arcangelo and S. Maria ”. According to Aleandri, however, the work was commissioned to “M.o Giustino and M.o Valentino with the instrument of 1514”. The Annunciation is depicted in the pendentives at the top, within circles.

Subsequently, within a round arch made in trompe l’oeil, there is the image of the Virgin and Child, next to which are two saints unrecognizable due to the fall in color. At the top are two roundels whose decoration has been lost in memory, while the ring of the arch is surmounted by a coat of arms.

Proceeding further towards the main altar, St. Augustine bishop is represented between St. Anthony with the Child and St. Martin on horseback within a frame, who with his sword cuts off an edge of his cloak and offers it to a poor man. Above, in the clouds, the Coronation of the Virgin holding the Child in her arms is depicted. On the side pilasters of the mirror within two ovals with volute frames, on one side are represented Beata Rita da Cascia and on the other Beata Chiara da Montefalco wearing the monastic robes of the Augustinians. The last scene of the lower register, inscribed in an altar, with a trompe-l’oeil arch, depicts the Baptism of Christ in the Jordan River, attended by two praying angels on either side. Above, among the clouds, is God the Father Blessing, with the globe in one hand, surrounded by angels. Slightly lower, among the clouds, the dove of the Holy Spirit descends on Christ, whose figure is very reminiscent of the martyrdom of San Sebastian depicted on the left wall of the church. Below, beyond the frame, two kneeling women are represented, probably the patrons. On the top of the pendentives, on one side is depicted, according to Aleandri, St. Luke, who writes the Gospel on a tablet supported by an angel. The same scene is also repeated in the other plume in which, however, the Evangelist was covered by the adjacent fresco, thus only the angel being visible. On the left side of the arch, however, St. Jerome is depicted, probably the work of Giovanni Francesco d’Amelia. The work is placed between the scenes of the Nativity of Jesus and the Massacre of the Innocents in the upper register, and a fragment of a fresco with women in prayer, from the early sixteenth century, at the bottom. This scene must have been part of a layer below the current one, of which only the first painting at the bottom right of the entrance wall remains.

On the second register of the right wall, within two pilasters, is the Nativity of Jesus, attributed to Giovanni Francesco d’Amelia and executed in the sixteenth century. In this painting, the closeness of Antonio del Massaro known as il Pastura is accentuated. Next to it, within two pilasters, is the Massacre of the Innocents, also attributed to Giovanni Francesco d’Amelia. The very excited scene sees as protagonists the soldiers in the act of killing the newborn boys who are defended by their mothers. In the background, on the right side of the scene, Herod is depicted, the instigator of the massacre, who watches the events from a window. Here the master in the moment of artistic maturity summarizes, develops and concludes his cycle in the Church of S. Nicola.

After the representation of the Flight into Egypt, surmounted by the clypeus with the figure of Micheas, follows the scene of the Dispute of Jesus with the Doctors in the temple, from the 17th century. and of Roman ambit. Above descends the dove of the Holy Spirit, surrounded by light. On the decorative band above the cycle, on architectural frames, are two angels supporting a clypeus in which is the face of the prophet Osia, whose name appears on the cartouche below the clypeus itself. Next to it is the scene of the Baptism of Christ, from the 17th century. and of Roman ambit. At the center of the scene are Jesus and John the Baptist, both resting with one knee on a rock. Above descends the dove of the Holy Spirit, surrounded by light. On the decorative band above the cycle, on architectural frames, are two angels supporting a clypeus in which is the face of the prophet Ezra, whose name appears on the cartouche below the clypeus itself.

Following the depiction of the Temptation of Christ by Satan, surmounted by the clypeus with the figure of Davit, at the height of the choir loft, is the scene of the Wedding at Cana, from the seventeenth century. and of Roman ambit, with the miracle represented in the foreground. Above, on the decorative band above the cycle, on architectural frames, are two angels holding up a clypeus in which is the face of the prophet Malachi, whose name appears on the scroll below the clypeus itself.

Next to it is the entry of Christ into Jerusalem on horseback, welcomed by the people in celebration, from the seventeenth century. and of Roman ambit. Above, on the decorative band above the cycle, on architectural frames, are two angels holding up a clypeus in which is the face of a prophet.

As previously mentioned, the church presbytery is raised, with a peperino balustrade that separates the sacred area from that intended for the faithful. At the center of the presbytery is the high altar from 1709 in stucco. Four semi-leaning pillars support an entablature on which a broken tympanum is placed, at the center of which is the coat of arms of Rome supported by two gilded cherubs. On the sides, between two pillars in two orders, there are a series of wooden sculptures depicting Santa Barbara on the top right holding a three-tiered tower in her left arm, and San Francesco below; on the upper left Saint Catherine of Alexandria holding a large volume with her right hand, while on her left a wheel and a face of a Greek statue, and Saint Egidio with the deer below. The sculptures, from the 16th century, were formerly reliquaries, and most likely adorned the pre-existing altar, contemporary of the church.

In the center, framed by an arch decorated with foliage, culminating with a cherub, is the 14th century frescoed icon of the Madonna of St. Nicholas with the Child, from the Viterbo area. The origin of this fresco is unknown, perhaps originating from a primitive chapel. Below, in stucco, the coat of arms of Vitorchiano is depicted with the Porta Romana. At the center of the altar table is the small temple-shaped tabernacle.

On the walls surrounding the triumphal arch, the lower register on the right shows the Virgin enthroned between Saints Peter and Paul, while on the left is the Virgin enthroned with San Rocco. The first of the frescoes presents the group inserted within an architectural frame consisting of an arch with a shell-like cap on which two lions climb, holding two lanterns. In the center, on the shell, within a circle, is an inscription in Latin. On the left wall of the triumphal arch, there is the Madonna enthroned with the Child depicted together with San Rocco. The group is inserted within an architectural frame consisting of an arch with a shell-like dome on which two angels are seated, very damaged, holding two lanterns. In the center, on the shell, within a circle, is an inscription in Latin: AVE / REGINA / CELOM. It is very likely that the work was carried out by the masters Giovanni and Guido d’Arezzo, together with the symmetrical fresco with the Madonna and Child and Saints Peter and Paul, in 1521. Above you can see pairs of angels holding of the clypei, while the rest of the decoration has been completely lost.

On the walls of the apsidal basin, on the other hand, there is a cycle of frescoes with the Visitation, Santa Barbara embracing the tower, made in 1548, as can be read on the inscription, probably by Monaldo Trofi known as the Trufetta, and the Birth of the Virgin.

In the Visitation, the scene takes place outside the city walls and together with the Virgin and Saint Elizabeth there are two other handmaids, one of which carries some white doves. Stylistically it is possible to bring this fresco closer to that of the Birth of the Virgin Mary, placed on the left wall of the apse. Here the scene takes place in an enclosed environment in which the Virgin is lying on the bed with Joachim beside her, while below two handmaids are bathing little Mary in a tub.

In the apsidal dome there is a fresco of the Last Judgment, from the 16th century, from the Viterbo area. In the center, high up in the clouds is Christ the Judge flanked by the Virgin and John the Evangelist. On the axis is a group of angels holding the symbols of the Passion of Christ, alongside which groups of saints and blessed in Paradise line up on either side. Below, in line with the symbol-holding angels, are the angels with trumpets announcing the Last Judgment, on either side of which are the damned represented in an intertwining of moving bodies. On the far right is the face of Satan, represented as a scary mask that swallows sinners. The compositional and stylistic characteristics confirm the belonging of this fresco to the same hand that painted the frescoes of the apse walls, very close to Tuscan trends. The physiognomic features of the figures represented here have no comparison in any other fresco belonging to the church.

As soon as you enter, on the first register of the left wall, there is the tombstone, from the seventeenth century, from the Viterbo area, affixed by the Orlando di Vitorchiano family, in honor of Orlando Ciriaco. The sepulcher consists of two fluted semi-leaning pillars, which support an entablature with a broken curved tympanum, at the top of which is the marble coat of arms with the symbols of the family consisting of a plumed military helmet on which is a star with a scroll that reads HAC DUCE. The helmet rests on the head of a cherub placed in the center, at the top, of a volute frame. On the side pilaster, painted, there is a medallion within which a figure of a woman is frescoed in shades of pink. Together with another similar medallion, it must have been a decorative motif of the first altar on the left, which has now disappeared.

Continuing is the altar with the 17th century fresco. depicting San Silvestro pope between St. Thomas of Villanova, giving alms to a poor man, and St. George who is hitting the dragon. Above, in the clouds, the Madonna between S. Marco and S. Liberato. On the side pilasters, within two ovals with volute frame, are represented on one side St. William of Aquitaine, under which is a cartouche with a Latin inscription: S GVILLEMVS DVX / AQVTANIAE ET / COMES PICTAVIENSIS / ORD.S S. AVGVSTINII, and, on the other, S. Vincenzo Martire. The decoration was commissioned by Fiore di Silvestro in 1517, whose family crest, divided into two parts with a rampant lion and three lilies, is placed under both medallions. In fact, in a document dated 1517 Cinzio di Silvestro left his wife Fiore with the task of erecting a chapel dedicated to S. Silvestro entrusted to Mo Giovanni d’Arezzo who began the work in 1520. The current fresco, however, does not present the characters peculiar to a sixteenth-century work and it must therefore be assumed that the current painting is the remake of the sixteenth century: thesis supported by the fact that Tommaso di Villanova was canonized in 1658.

Subsequently, at the top is represented a procession that comes out of a Basilica, of the sixteenth century, in the Umbrian area, similar in style to the painting of Pinturicchio, while at the bottom is the legend according to which a child, holding a shell in his hand, he explains to St. Augustine that trying to understand the Trinity was like trying to put the whole ocean in a shell. On the lateral pilaster there is a fresco of San Sebastiano alla Col, pierced by arrows, a work of the sixteenth century. in the Tuscan-Umbrian area. This painting is attributable to M.o Giovanni Francesco d’Amelia, given the remarkable physical resemblance to the Christ of the Baptism in the Jordan.

Continuing towards the presbytery, on two registers, the following scenes are frescoed: above is a procession with saints and angels, while below is the Siege of Vitorchiano. The first scene, from the 16th century, probably the work of two pupils of GF d’Avanzano: Mo Giustino da Montefiascone and Mo Valentino di Sebastiano da Viterbo, “followers of the Umbrian and Tuscan manner”, has no apparent connection with the evangelical themes there treated. The episode of the second scene, from the 16th century. and of the Viterbo area, it can certainly be traced back to the history of Vitorchiano, made the subject of frequent attacks by nearby Viterbo, to escape from whose arrogance he became faithful to Rome. This painting, the only visual example of the battles of the past, is attributed to Giovanni Francesco d’Amelia.

Next to it is an altar from the sixteenth century. of Viterbo area, commissioned by Maria Guerra di Torre in 1585, as attested by the inscription placed within the squares forming part of the decoration of the pillars: IO MARIA DOTAVIT / GUERRA DE MDLXXXV / TURRE MOT / HOC OPU FI / ERI FECIT SU / IS SUPTIBUS / ET HANC CAP / ELLAM. The latter, semi-leaning, covered in plaster and decorated with stucco candelabra, support an architrave with an oval and spiral frieze surmounted by a lunette, whose arch is decorated with cherub heads in white and yellow stucco. At the base are two coats of arms of the client’s family, depicting two crossed swords.

In the lunette at the top there is a fresco of the Resurrection of Christ among the sleeping soldiers, contemporary with the decoration of the altar.

At the center of the altar is a niche with the Crucifixion, made with the use of various materials and techniques flanked by glass frames containing silver votive offerings. On a background of red brocade the crucifix has been applied, surrounded by flowers on which the disproportionate and deformed body of Christ with the halo in pink silk stands out. Next to it is the statuette of Our Lady of Sorrows, weeping, dressed in black, holding a white handkerchief in her hand

Below the altar is frescoed with the Pietà, in which in addition to the dead Christ and the Madonna, St. John and St. Mary Magdalene are depicted. The compilers of the OA form of the fresco underline how the performer refers to the school and trends of Costantino Zelli, while Aleandri attributes the fresco to either Giustino da Montefiascone or Valentino da Viterbo.

On the second register frescoed with episodes from the life of Christ, at the level of the choir loft, is the much ruined scene of the Last Supper, created by Viterbo artists in the sixteenth century. Although very deteriorated, Christ and a few faces of the Apostles are still visible in the center of the scene, together with the bread placed on the table. Above, on the decorative band above the cycle, on architectural frames, are two angels holding up a clypeus in which is the face of the prophet Malachi. Next to it is the Prayer of Christ in the garden of Gethsemane. Despite the poor condition of the fresco, Christ praying is recognizable in the center of the scene, while below, around him, the sleeping apostles can be seen. Also here on the decorative band, at the top, are two angels holding up a clypeus in which is the face of the prophet Amos.

Continuing is the scene with Christ before Pilate, from the 16th century, in the Roman context, which according to Algardi could be the work of Giovanni Francesco d’Amelia. However, the stylistic analysis could suggest the intervention of an unknown artist of the Roman school. Above, on the decorative band above the cycle, on architectural frames, are two angels holding up a clypeus in which is the face of an unrecognizable prophet.

Next to it, however, is the scene with the Flagellation of Christ, also from the Roman area. Here, too, on the decorative band, at the top, are two angels holding up a clypeus in which is the face of the prophet Davit.

Continuing further towards the presbytery it is possible to admire the scene with Christ carrying the cross, from the 16th century, from the Viterbo area. The attribution of this painting can be made to the master Giovanni Francesco d’Amelia above all on the basis of the comparison of the same figure in other frescoes of the same church. Subsequently the Deposition from the Cross is represented, a work of the sixteenth century, attributed to Giovanni Francesco d’Amelia. For the attribution to the master, the San Sebastiano must be taken into consideration. Next to it is the scene with the Descent of the Risen Christ into Limbo, a work attributed to the same artist. The figure of Adam is very significant for the purposes of a historical-critical reconstruction in fact an almost identical figure is found in the Deposition of Constantine by Jacopo Zelli of the Church of S. Maria della Verità in Viterbo. Above, on the decorative band that dominates the cycle, on architectural frames, are two angels who support a clypeus for each scene, in which are the faces of two unidentified prophets.

The last frescoed scene of the upper register represents the Transfiguration of Christ, very damaged. In the work, from the sixteenth century. and from the Viterbo area, it is only possible to recognize the Risen Christ, an angel and some figures at the bottom side. According to Aleandri, this scene, together with the Transport of the Cross, the Deposition and the descent of the Risen Christ into Limbo, “could be attributed to Giustino di Montefiascone and Valentino di Sebastiano da Viterbo”

On the counter-façade, at the top is the wooden choir loft, dating back to the twentieth century, in the Viterbo area, surmounted by the rose window and windows. It has smooth mirrors, carved with wooden decorations in the center and surmounted by perforated panels. The central part, which rests on a wooden structure in which is the entrance to the church, also divided into mirrors, has the emblem of the Franciscans, that is, the arms crossed with the cross in the center.

On the left wall of the counter-façade, in a niche made in trompe-l’oeil and crowned by a “crismos”, is represented St. Nicholas of Bari, bishop, enthroned, who performs the miracle by resurrecting three children who had been cooked in a tub , as legend has it, represented in the fresco next to him. The fresco, from 1531, is probably the work of Giovanni Francesco d’Amelia. Below is the following inscription: This chapel was made to make Madona Cherubina at honor de Dio et de S. Nicola. In eternal memory of her husband Liberato and of her philosopher priest of God MDXXXI. Next to it, instead, we can see the scene in which the same Saint holds the sword of a criminal while trying to hit an old man.

Finally, on the right wall of the counter-façade, within an altar with a trompe-l’oeil arch, the Virgin and Child is depicted, seated on the clouds, between S. Martino bishop and Sant’Antonio Abate, as can be deduced from the inscriptions placed on their feet. At the foot of the Virgin there is an inscription on which the date of completion of the work, 1550, now canceled, appeared.

ESSENTIAL BIBLIOGRAPHY

Bertolini M.C., La catalogazione informatizzata degli affreschi della chiesa della Madonna di San Nicola a Vitorchiano, in Impara l’arte. Tirocini formativi tra Regione e Università, n. 2, p. 204;

Mosconi A., La Madonna di S. Nicola a Vitorchiano, Brescia 1972.

Vtorchiano, il passato presente, edizione curata da Fiorenzo Mascagna, ricerche storiche Elide Vagnozzi, Stampa Arti Grafiche Artigiane 2005.

Aleandri V. E., Gli affreschi della Madonna di San Nicola a Vitorchiano, in Arte e Storia-Rivista mensile, n.8, 1913, Firenze, p. 245-248.

Aleandri V. E., Documenti e artisti che operavano in Vitorchiano nella prima metà del sec. XVI, in Rassegna Bibliografica, XIII, 1910, pp. 105-110.

Vecchiocattivi L.- Pedrocchi A. M , scheda OA n. 12/ 00095248, 1977.

Vecchiocattivi L.- Pedrocchi A. M , scheda OA n. 12/ 00095249, 1977.

Vecchiocattivi L.- Pedrocchi A. M , scheda OA n. 12/ 00095250, 1977.

Vecchiocattivi L.- Pedrocchi A. M , scheda OA n. 12/ 00095252-0, 1977.

Vecchiocattivi L.- Pedrocchi A. M , scheda OA n. 12/ 00095252-2, 1977.

Vecchiocattivi L.- Pedrocchi A. M , scheda OA n. 12/ 00095252-3, 1977.

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Vecchiocattivi L.- Pedrocchi A. M , scheda OA n. 12/ 00095254, 1977.

Vecchiocattivi L.- Pedrocchi A. M , scheda OA n. 12/ 00095255, 1977.

Vecchiocattivi L.- Pedrocchi A. M , scheda OA n. 12/ 00095256, 1977.

Vecchiocattivi L.- Pedrocchi A. M , scheda OA n. 12/ 00095257, 1977.

Vecchiocattivi L.- Pedrocchi A. M , scheda OA n. 12/ 00095258, 1977.

Vecchiocattivi L.- Pedrocchi A. M , scheda OA n. 12/ 00095259, 1977.

Vecchiocattivi L.- Pedrocchi A. M , scheda OA n. 12/ 00095261, 1977.

Vecchiocattivi L.- Pedrocchi A. M , scheda OA n. 12/ 00095262, 1977.

Vecchiocattivi L.- Pedrocchi A. M , scheda OA n. 12/ 00095264, 1977.

Vecchiocattivi L.- Pedrocchi A. M , scheda OA n. 12/ 00095265, 1977.

Vecchiocattivi L.- Pedrocchi A. M , scheda OA n. 12/ 00095266, 1977.

Vecchiocattivi L.- Pedrocchi A. M , scheda OA n. 12/ 00095267, 1977.

Vecchiocattivi L.- Pedrocchi A. M , scheda OA n. 12/ 00095270, 1977.

Vecchiocattivi L.- Pedrocchi A. M , scheda OA n. 12/ 00095271, 1977.

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Vecchiocattivi L.- Pedrocchi A. M , scheda OA n. 12/ 00095287, 1977.

Vecchiocattivi L.- Pedrocchi A. M , scheda OA n. 12/ 00095288, 1977.

Vecchiocattivi L.- Pedrocchi A. M , scheda OA n. 12/ 00095294, 1977.

Vecchiocattivi L.- Pedrocchi A. M , scheda OA n. 12/ 00095295, 1977.

Vecchiocattivi L.- Pedrocchi A. M , scheda OA n. 12/ 00095298, 1977.

Vecchiocattivi L.- Pedrocchi A. M , scheda OA n. 12/ 00095299, 1977.

Vecchiocattivi L.- Pedrocchi A. M , scheda OA n. 12/ 00095301, 1977.

Vecchiocattivi L.- Pedrocchi A. M , scheda OA n. 12/ 00095302, 1977.

Vecchiocattivi L.- Pedrocchi A. M , scheda OA n. 12/ 00095303, 1977.

Vecchiocattivi L.- Pedrocchi A. M , scheda OA n. 12/ 00095304, 1977.

Vecchiocattivi L.- Pedrocchi A. M , scheda OA n. 12/ 00095305, 1977.

Vecchiocattivi L.- Pedrocchi A. M , scheda OA n. 12/ 00095306, 1977.

– A special thanks to dr. Andrea Presutti for scientific advice and archival photographic material provided on Vitorchiano.