Madonna Annunziata Sanctuary

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OUTSIDE THE CHURCH  |  THE SANCTUARY INSIDE  |  THE ORATORY OF JESUS AND MARY
 

Madonna Annunziata Sanctuary

The common identity of the Bronte people


The church

Maria SS. Annunziata is the protector with San Biagio of Bronte and the Sanctuary dedicated to her is the pride of our town. It continues to be, as it has been since 1535, the year of the reunion in Bronte of the inhabitants of the 24 Casali, the place of common "identity", where to find comfort and hope.

The Sanctuary is one of the oldest religious monuments in the city. It stands on the western edge of the town, in the lower part of the old historic center, once delimited by Via Santi today by the route of the ring road that from the Circum railway station passing behind San Vito descends towards the Sciarotta district.

The exterior of the church, with a flat gabled façade and adjoining bell tower on the right side, is built with load-bearing masonry in lava stone ashlars and lime mortar; it has a large hemispherical pointed dome with a lantern and a gabled roof with wooden trusses and a covering of terracotta tiles. It combines in a single wonderful image the solid expressiveness of the complex and the innovative strength of the architectural elements of Renaissance inspiration.

The internal space with a prevalent longitudinal development, has a rectangular nave and a deep quadrangular presbytery.
Leaning against the left side of the church façade and annexed to it, with independent access from the square, is the delightful Oratory of Jesus and Mary, home to the ancient Confraternity of the same name.


The buildingg

The building certainly dates long before the joining of the 24 set­tlements (wanted by Carlo V in 1535): the big bell, in fact, shows the date of 1535 (the wor­ding says "Antoninus Sagla I fecit, MCCCCCXXXV"), and the church already appears in the matrimonial registers of 1505.

It is not possible, however, establishing what the original outside structure of the church, was, only the Christ's chapel and the column makes you think that could be part of the primitive building.

At the time of the transfer and unification of the farmhouses (1535 -- 1548), the churchwas, according to what the historian brontese Benedetto Radice writes ("Historical memories of Bronte"), was reconstructed and enlarged and, after the arrival of the statues of the Annunciated around 1543, the rising new town was put under the protection of the Madonna Annunziata, giving the inhabitants of the old farmhouses a new common identity.

Monsignor Ludovicus de Torres, the bishop of Monreale whoch visited Bronte in 1574, wrote to have found "altar decenter ornatum" and praised "illum (the substitute of the church, Don Antonio Ciraldo) et confrates (the confraternity of the Madonna Annunziata) et monuit to perfectionem novae fabricae".

Almost fifty years later, in 1625, the bell tower was built (the original door was where the altar of the Natività is found, now to the right coming in).

The façade of the sanctuary was completed in 1631, and few years later, (in 1651) the canopy truss was installed, as it reads on the beam near the chorus.

The chorus and the dome were added in 1811.  

Images of the exterior of the Church dedicated to the Madonna Annunziata, Patron Saint of Bronte. The drawing at the top right is a view of the Sanctuary from the late 19th century taken from the History of the City of Bronte by p. Gesualdo De Luca (engraving by Angelo Colombo based on a drawing by Agostino Attinà, 1883).

On the left wall of the church, built adjacent to and annexed to it, you can see the entrance to Oratorio di Gesù e Maria (the Oratory of Jesus and Mary), still today the seat of the Confraternity of the same name founded in the 16th century. With a single nave, it has a simple and linear interior, full of documentation and works of art.

In the eighth visit that the Archbishop of Monreale, Mons. Torres built the "Church of the Annunciata" in Bronte in September 1582, which was not yet finished, so much so that Torres ordered to use "diligence in finishing the building and for this purpose" he gave "authority to the Vicar Forane to be able to give permission that on holidays that he deems fit after midday, work can be done there".


The outside

The exterior of the church, due to the design of the bottoms and openings of the mighty structure of the bell tower, is significantly influenced by local architectural concepts and construction techniques.

The façade contrasts with the interiors for its austere simplicity, which is mitigated by the valuable sandstone portal, of Mannerist workmanship, but probably assembled differently in later periods. On the right side rises the massive cusped bell tower.

The portal and the window with tympanum stand out on the main façade, which bears the date 1631 under the sill (perhaps indicating its completion).

The jambs and the sandstone pediment of the door, although flaked by time, still clearly present the simple design of the flowers and the figures of cherubs and demons in relief that adorn it.

The scene depicted in the lunette above the door recalls the transport and arrival in the church square of the two statues by Gagini on a cart pulled by oxen.
Around the lunette is the inscription "B.M.V. hujus civitatis Patronae principalis restauratum vetustissimum monumentum mirae traslationis simulacri".

Of particular beauty is the bell tower, from 1625, cuspidated and of massive proportions, which gives impetus to the whole and is characterized by the showy rusticated pilasters and the crenellated crown.

The bronze reliefs of the door show the names of all the districts and the "24 Casali" that from 1535 to 1548 reunited by order of Charles V in ancient Bronte and that in the Madonna Annunziata, their protector, found a new "common identity". The door is the work of the Bronte sculptor Mimmo Girbino.

The interior has a single nave and a square presbytery before the choir.

Other details of the main façade of the church. The lunette tells the story of the tradition of transporting the image of the two statues (the Virgin and the Angel) on a cart pulled by oxen. The date "1631" carved on the windowsill recalls when the façade of the church was completed. On the right, details of the door of the Church of the Annunziata and the mighty structure of the bell tower (1625).
The door is the work of the Bronte sculptor Domenico Girbino and exactly follows that of the Church of the Catena (Chiesa della Catena), by the same author. The bronze reliefs show the names of all the districts and the 24 Casali that, by order of Charles V, from 1535 to 1548 reunited in ancient Bronte.


The portal

Details of the church portal, certainly one of the most characteristic and ancient parts. Jambs, archivolt and piers are in sandstone and although partly flaked by time they still clearly show the simple design of the flowers and figures in relief.
It is a succession of fantasy and variety of subjects and symbols with stems, shoots and spirals that decorate and connect flowers, bunches and zoomorphic subjects, angels, cherubs and demons in relief. So also human heads, intertwining branches, shells and festoons and often, to support the trabeation, also human figures: caryatids or telamons. A true spectacle of art and faith that gives the door Renaissance characteristics of guardian and protection.
It recalls in style and friezes the Renaissance arch of 1500 that surrounds the statues of Gagini in the main altar. Also in travertine and adorned with valuable bas-reliefs, ornaments and figures, gilded and variously colored.

In the box on the right, "L'Annunziata-La nuova identità", an excerpt from a poem that the Bronte poet Pasquale Spanò wrote in 1966 (Etnei, Turin 1993).
It tells the legend of the "barter", of the long "journey" of the statue of the Annunziata on a cart pulled by oxen through the woods of Etna to Bronte and of the common "new identity" that the inhabitants of the 24 Casali, forced to gather in Bronte by royal order, found in their Protector.

Pascu, L'Annunziata (2017)

Bronte, Santuario dell'Annunziata, disegno di M. Schilirò
Above, Church of the Annunziata, ink by Mario Schilirò; the drawing of the lunette, placed above the entrance door, recalls the legend of the transport  and arrival in Bronte of the two statues by Gagini (la leggenda del trasporto e dell'arrivo a Bronte). On the left, the Sanctuary of the Annunziata seen by Nelu Pascu  (2017)

 

The Sanctuary of the Annunziata
on national television networks

On Sunday, March 25, 2007, a liturgical celebration presided over by the Archbishop of Catania, Monsignor Salvatore Gristina, was broadcast live on national television on Rete Quattro from the Sanctuary of the Annunziata.

On March 10, 2002, Rai also broadcast live on national television the mass celebrated by the then Archbishop of Catania, Monsignor Bommarito. Exceptional occasions that have, among other things, allowed the City of Bronte to be made known in a prestigious way and to present to the eyes of millions of faithful the harmony and beauty of our ancient Sanctuary (view it on Google Maps).

The Annunziata

The New Identity

L'alto volere della Corte aveva
messo i Casali in movimento verso
quella unìone che vedeva in Bronte il
      centro vitale.

Poveri alloggi in miseri rioni, 
dava ciascuno lustro ad una chiesa
ove sperava ritrovar la propria
      identità.

Tutti i quartieri però ravvisàro
nell'Annunziata qualcosa in comune,
onde donàro lavoro e denaro in
      gara d'amore.

Quando tra luci e splendore miràro i
rudi pastori la Vergine Santa e
l'Angel celeste, rapito sentìro
      l'essere tutto.

Videro genti, di fiducia colme,
d'ogni Casale colà convenire e
ricuperare nuova una comune
      identità:

da Borgonovo porta una vedova i
segni di cruda violenza subìta,
mentre le bande scorazzano ancora
      libere ovunque;

da Castellàci migrata una donna
quivi conduce tre figli consunti
dalla malarìa e fidente li affida
      alla Madonna;

capitan pure certi che la lava
dalle lor case aveva dispersi
alla ricerca di nuova dimora in
      sede tranquilla;

da carestia afflitti non pochi
vengon ploranti con calore a chiedere il 
sole o la pioggia perchè le campagne
      hanno cuor duro:

sostan qui tutti, riprendon vigore e
una speranza, apparsa svanita,
che fondamento terreno non ha, ma
      solo divino.

The Sanctuary Inside ->


OUTSIDE THE CHURCH
  |  THE SANCTUARY INSIDE  |  THE ORATORY OF JESUS AND MARY

Church's map (only in italian)

Translated by Sam Di Bella ITALIAN VERSION

          

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