| 11. Assunzione di Maria |
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| THE CHAPELS [Internet Explorer 6 only] | |||
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ArchiteCturE  The distance between this chapel and the preceding one along the processional route suggests the missing of several edifices, originally planned to be erected on the irregular path, which until this point is evident. The chapel was commissioned by the community of the ‘mandamento di Mosso’, whose protector is Maria Assunta. Sources attest that the construction works were already under way in 1659. The edifice is amongst the finest of the complex, presenting a circular ground plan encircled by a porch. The external structure is cylindrical, ending by a cupola hidden by the tiburium, and reinforced under the decorative plaster by a metallic ring. The porch is harmonic and well-proportioned; the columns, posing on a low wall serving both as a parapet and as a carved bench, are in local stone. The chapel was completed at the beginning of the 18th century. Originally a lantern, later substituted by a semicircular window placed at the level of the porch roof, illuminated the triumph of the angels placed in the interior. INTERNAL SCENE  The history of the sculptural group is a tormented one. In 1670 the triumph of the angels was commissioned to Aliprandi, a new name amongst the artist working at the Sacred Mount. After several vicissitudes Aliprandi’s work, realized in collaboration with Scoto, a fellow sculptor, was however not collocated in its appointed place. Other artists were subsequently involved in the project. Finally the triumph of the angels designed by Barberini, a sculptor active in Lombardy in the 17th century, was chosen. Barberini probably also received the commission for the statues, however he died leaving his work unfinished. Agostino Silva di Como positioned Barberini’s triumph within the completed chapel and realized the statues of the apostles, that were to be placed in the lower part of the group. As the commissioners were still not satisfied with the sculptural group the Auregio brothers, finally, made an intervention on the draperies and displaced the triumph to its original site, designed by Barberini. The scene depicts the assumption of the Virgin Mary and the apostles surrounding the empty sepulchre. The triumph of the cherubs encircles the Virgin: their features and gestures succeed in conveying the utter joy and a sense of uniformity of style, despite the sheer multitude of the characters portrayed.OTHER PHOTOS Click on the image to see larger details.         
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