It all began with a miracle

Devotion and art in Monsummano Terme

The church of Maria SS. della Fontenuova was the first building in “lower” Monsummano. The original heart of the square, construction was begun in 1602 around the tabernacle of the “Madonna of the Plain”, at the foot of Monsummano Alto’s hill. The image of the Virgin surrounded by four saints – a sacred 15th-century conversation attributed to the Master of Fucecchio – had been considered the creator of several miracles. The first of these took place in 1573, on 9 June (still today Monsummano Terme’s patronal festival) when the shepherdess Jacopa Mariotti lost her flock while stopping to pray before a wayside shrine; upon imploring the Virgin Mary for help, the sheep immediately reappeared. Devotion to this image grew such an extent that a chapel was built.

There, on 7 July 1602, during the celebration of the Mass, the Virgin caused a source of the purest water to spring forth, relieving the people’s thirst. Ferdinando I de’ Medici, with his wife Maria Christina of Lorraine, decided to build a sanctuary, entrusting its design and construction respectively to the grand ducal architect Gherardo Mechini and the master builder Domenico di Cristofano Marcacci. It was this same team that had worked between 1597 and 1599 on the villa in Montevettolini, erected by the grand duke in place of the ancient fortress. However, in January 1602 he had the weekly Monday market introduced inside the castle and sought to populate the plain that had been swampy until that time but whose development he supported through the gradual reclamation of the Fucecchio Marshes by removing the water.

In the by then fertile countryside, nothing was no better than a tangible sign of divine grace and grand ducal patronage, that changed the connotation of water from unhealthy to miraculous. Even today, on the 7th of every month, this “Fonte nuova”, new source, can be reached through a more accessible crypt (1955), with stairs located below the church’s portico. On 30 December 1602, Grand Prince Cosimo laid the foundation stone with decoration begun in 1605 and lasting in an early phase until 1621, despite the consecration having taken place 30 April 1616.

Fontenuova 5 Fontenuova 1

With the Latin cross layout typical of the Counter-Reformation, it is surrounded on three sides by a portico with many stone benches for the convenience of pilgrims. The church welcomes visitors through the central portal. On the architrave is a beautiful marble bust by Leonardo Marcacci (replacing his father Domenico in 1605 in managing the worksite) depicting Maria Cristina (extremely devoted to Our Lady of Fontenuova and spending lavishly on the sanctuary whenever the poor Cosimo II was healed) as Charity, in the backdrop of the lunette frescoed by the Sienese Bonaventura Salimbeni, with allegories of Faith and Hope. Crossing the threshold, note its carved 17th-century doors, the work of Jacopo Desideri, a carpenter from Pistoia.

Just after entering, turning toward the counter-façade, is the monumental organ in the choir loft, a gift from the grand duchess. Looking up, one is struck by the richness of the carved and gilded wooden ceiling, in which three oil paintings are mounted, which instructs the faithful in the Marian mysteries: the Annunciation by Matteo Rosselli, the Assumption by Gregorio Pagani and Matteo Rosselli, and the Coronation of the Virgin by Donato Mascagni. The cycle finds its ideal conclusion in the imposing main altar that incorporates the ancient tabernacle. Only Mary’s image with the infant Jesus emerges from silver votive offering covering it. Behind the altar is the choir with the 17th-century wooden stalls, which leads to the sacristy and the Treasury. The most important piece, a gift from the grand duke, now kept in the nearby Museum of the City and Territory, is the golden crown with gems that is still placed on the head of the venerated icon during the patronal feast.

Fontenuova 4 Fontenuova 9

Back in the hall, the richness of the marble (and partly marbleized stucco) revetment of the walls can be seen, with four confessional niches edged with purple, the color of penitence. Above, in a frescoed frieze, two landscapes near the counter-façade can be seen. The two allusive views depict the steep Monsummano from one side hill and the Valdinievole from the other. Above the confessionals are four canvases (1625) with saints, including St. Sebastian (also found in the tabernacle) and Carlo Borromeo, “modern” saint whose oratory was built in the early 1920s a few meters from the church. The two side altars in the transept arms have large paintings, dating back to 1629. On the left is the Adoration of the Magi by Matteo Rosselli, and, on the left, the Madonna and Child with Joachim and Anna by Cristofano Allori.

The decoration of the church found its consummation with the involvement of the grand ducal painter Giovanni da San Giovanni. With its vivaciously narrative language, the Trinity on the back of the high altar (1633) and seventeen lunettes – unfortunately deteriorated by the elements – under the portico (1630 -1632), are accompanied by captions. Starting from the north transept, the faithful, like the modern tourist, is informed of the miraculous events that occurred between 1573 and1602, on the foundational events, the miracles that the Virgin would continue to perform. The episode depicting the Marian intervention in favor of two masons should be noted among those on the main front. in the background, a porticoed building with an olive bough can be seen, a clear reference to the Osteria dei Pellegrini, the inn with a monopoly system, built between 1606 and 1610 by Leonardo Marcacci at the behest of the grand duke.

TEXT

Claudia Becarelli

PHOTO

Nicolò Begliomini

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