|9. Purificazione di Maria|
The commissioner of the chapel were the communities of Vigliano and Valdengo. The works, initiated in 1659, ended in 1664. The ground plan is hexagonal, with a small porch sheltering the entrance, similar to the project of the chapel to be dedicated to the Flight into Egypt and never realized. The edifice conveys an impression of majesty and harmony of proportions. The corners are embellished by lesenes sustaining a false trabeation and surmounted by the cornice. The exterior walls are decorated with white plaster; the columns, lesenes and architraves of the porch are in local stone. The interior presents an hexagonal ground plan, whose vertexes are marked by decorative pilasters sustaining the ribbed cupola. Although the edifice is placed in a favorable position it is nonetheless exposed to the humidity, which has damaged the decorations and plasters both internally and externally.
The sculptural group was realized by B. Termine between 1664 and 1666; his nephew, P.G. Auregio, restored it in 1725. The aesthetic value of the statues, whose features are unrefined and proportions inharmonious, is considered modest. The Madonna with Child, to the right, and the High Priest, to the left, appear to belong to different styles. A confrontation between the statues, such as that of the High Priest, that P.G. Auregio realized for the chapel of the ‘Presentazione’, and those, such as the Madonna with Child, he created for the chapel of the ‘Nascita di Gesù’, leads to think that Auregio made the substitution of the three central characters of the groups. The scene is completed according to the evangelical tradition, that is by St. Joseph, the prophetess Ann and the woman holding a basket containing two pigeons. Termine at his own discretion added other characters.
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