Doesn’t the sight of the grotto before Nostra Signora di Lourdes remind you of something? It’s a slice of Lourdes itself nestled here in Milan. This is Nostra Signora di Lourdes. It is a beacon of faith and history. The church stands in the northern part of Milan near the Cimitero Monumentale. It is more than just a church. It is a testament to devotion and architectural ambition.
Let’s step back to the late 19th century. Monsignor Antonio Videmari and his brother Don Giuseppe spearheaded this project. They acquired land in 1893. This area was then known as the “borgo degli ortolani”. Their devotion stemmed from a deeply personal experience. Don Giuseppe experienced a miraculous recovery from a throat tumor. He attributed it to the Madonna of Lourdes. This inspired them to build a small grotto. This grotto was to be the front of a bell tower. Unstable ground forced them to separate the structures.
Construction began in 1897. Architect Alfredo Campanini designed the church. He was known for his Liberty and eclectic style. The brothers wanted a votive temple. Campanini designed a three-nave basilica reminiscent of ancient churches. The initial construction concluded in 1901. It wasn’t long before the facade took shape. A convalescent home was built to house the sick. While no longer in use, it is still visible.
Nostra Signora di Lourdes became a parish in 1925. Cardinal Eugenio Tosi elevated it. The exterior grotto was completed. A statue of Bernadette was added. A fountain mirroring the Massabielle grotto followed a decade later. Cardinal Alfredo Ildefonso Schuster consecrated the church in 1942.
World War II brought devastation. Bombings in 1943 caused severe structural damage. Restoration followed. The church was enriched with an organ. Arrigo Minerbi created a pulpit of red Verona marble. Only the bas-reliefs on white marble remain today. The frescoed cupola construction began in 1957.
In 1958, Cardinal Montini, later Pope Paul VI, elevated the church to a minor basilica. He had even contributed to its construction. He admitted to buying bricks for it. Further renovations occurred in the late 20th century to maintain the structure.
The exterior is marked by the large grotto. It replicates the Lourdes grotto. The Videmari brothers wanted this. The church follows a basilica plan. Its facade has a high base in ceppo stone. Above this are exposed brick sections with masonry bands. The central part features the main portal. The upper section has three single-light windows. Stained glass depicts the Immaculate Madonna between Saints Ambrose and Charles Borromeo. A mosaic in the lunette shows the Madonna as a shepherdess among sheep.
Inside, Nostra Signora di Lourdes is vast. It covers 1,650 square meters. Three naves stretch out before you. Columns separate the central nave from the side naves. Arches rest upon these columns. Frescoes decorate the upper sections. They depict a processional parade of Milanese bishops. Single-light windows illuminate the central part. The cupola was designed by Marco Martinengo in 1958. Ferdinando Compagnoni frescoed it.
The presbytery and transept are raised. Chapels dedicated to the Sacred Heart and Saint Joseph mark the transept ends. Side naves feature altars. The Madonna of Pompei and Saint Anne have altars. Lazzaro Pasini painted the altarpiece of Saint Anne. He also created the Stations of the Cross in 1910. The presbytery basin features a mosaic. It depicts the Coronation of Mary among angels and saints. Sgorlon created it from Pietro Cortellazzi’s design in 1959. Stained glass windows depict the four cardinal virtues. The hall holds a high relief. Arrigo Minerbi created the Madonna Dormiente in 1958.
The baptistery is octagonal. It is decorated with mosaics. It sits near the left side of the church. The baptismal font features a marble infant Jesus. Giuseppe Calori designed the bell tower. It connects to the church via the sacristy. The tower is brick. It is divided into four levels with single-light windows. A clock sits at the top. The bell chamber holds eight bells. The roof is pyramidal. Statues of angels by Mario Lochis complete it.
Nostra Signora di Lourdes stands as a testament. It represents faith and community. It embodies artistic vision. It mirrors Lourdes in Milan.