Santuario dellaBeata Vergine Assunta

Tucked away on Via Giuseppe Mazzini in Magenta, the Santuario della Beata Vergine Assunta whispers tales of centuries past. This sanctuary, linked to a monastery of Celestine monks, beckons us to explore its rich history. The Santuario della Beata Vergine Assunta’s origins remain shrouded in mystery, with no surviving archival documents pinpointing its exact founding date. However, historical whispers suggest its roots lie in the 14th century. In 1398, the monastery is mentioned among the houses of the parish of Corbetta as “Ecclesia Sanctae Mariae Celestinorum de Mazenta”. That same year, the small church of Santa Maria dei Celestini was valued at 20 lire and 17 soldi. Records indicate the presence of Celestine monks in Magenta as early as 1353, with two monks residing there. The Celestines likely chose Magenta due to its proximity to Milan, their provincial headquarters, and the patronage of the Crivelli family, who had close ties to the order. The Celestines quickly amassed significant holdings in Magenta, particularly in the Pontevecchio district. They regularly officiated at the Oratory of Santa Maria Nascente and maintained a grange to support the local monastery. They even played a vital role in constructing the bridge over the Naviglio Grande. By 1663, the monastery housed six monks and three converts, mostly employed at the Pontevecchio grange. The 1750 Teresian Cadastre records the monastery’s impressive wealth: 985 perches of land and over a hundred buildings in the city. Despite its prosperity, the monastery was suppressed by Emperor Joseph II’s laws in 1782. The Santuario della Beata Vergine Assunta suffered further setbacks in 1797 when Napoleonic troops stripped its interior woodwork. These were not restored until 1855. The bell tower, adorned with a sundial, likely dates to the late 15th century. The church’s single nave vault, partially collapsed in 1937, was reconstructed between 1938 and 1939. The facade also underwent renovation in 1938. While the exterior maintains its Romanesque origins, the interior boasts Baroque-style frescoes from the mid-18th century. The Santuario della Beata Vergine Assunta holds a particular treasure: two panels by Ambrogio da Fossano, known as Bergognone, dating back to 1501. Housed in the third chapel on the left, these panels, “Christ at the Column” and “Christ Mocked”, are part of a 16th-century polyptych attributed to Bernardo Zenale, located in the Chapel of San Giuseppe. Originally mistaken for works by Bernardino Luini’s school, recent scholarship has confirmed Bergognone’s authorship, showcasing his mature style influenced by Leonardo da Vinci and Bramante. Intriguingly, the artist left a fingerprint on the first panel near the interior doorway of the portico in the background of “Christ Flagellated”. The polyptych’s center features a tempera painting of the Nativity with an unusually young Saint Joseph. The lunette portrays God the Father holding the fate of Creation. The prophets David and Isaiah are depicted in high relief on the sides and the Annunciation on the trabeation. Angels with a scroll proclaiming “Glory to God in the highest” adorn the tympanum. The predella contains three panels: “Adoration of the Magi,” “Presentation of Jesus at the Temple,” and “Flight into Egypt”. Bergognone’s side panels were likely added later, probably in the 19th century, replacing parts of Zenale’s polyptych. The restoration of these panels was made possible by the Rotary Club of Magenta and carried out by Professor Carmelo Lo Sardo. The church also boasts a five-bell concert in F major, cast in 1951 by Carlo Ottolina of Seregno, rung according to the Ambrosian system and equipped with a keyboard for manual ringing. The Santuario della Beata Vergine Assunta stands as a testament to resilience and artistry, its walls echoing with stories of monks, artists, and the enduring power of faith.