Going around domes in Emilia


Going around domes in Emilia

Tours at a stone’s throw from the sky, among the great frescoes of Parma, Piacenza and Reggio Emilia.

Domes like the vault of heaven, homage to infinity, spiritual aspiration to atone earthly lives. Domes as ornaments of places of worship, evocators of the “beyond” contact with the divine.
Domes of a pragmatic land, full of gifts and merchants, rich in opulent nature and good food that tries to recognize itself in the project of an infinite that it feels it wants to be part of.
The six domes, inspired by the sacred writings, see the frescoes of the great artists in Emilia between the sixteenth and seventeenth centuries, who have honoured the solemn curves of domes, cathedrals and basilicas with their brushes. Parma, Piacenza and Reggio Emilia intersect and merge. Correggio, Guercino, Pordenone and Lionello Spada, a student of the Carracci family: gifted artists who find in the roots of this land the spiritual dialogue that unites the earthly life with the divine image.

Dome of Pordenone and Dome of Guercino – Piacenza
Recently restored, the dome frescoed by Pordenone between 1530 and 1535 in Santa Maria di Campagna allows you to immerse yourself in the figures of the Old Testament, biblical scenes with the stories of the Virgin Mary in the drum and the four evangelists in the plumes, a work by Bernardino Gatti, called il Sojaro.

Then there are 160 steps that separate visitors from the masterpiece of the Ferrarese maestro Guercino who, between 1626 and 1627, created the fresco of the Cupola in the Dome of Piacenza.

The three domes of Correggio – Parma
Escapes to heaven in the masterful tales of Antonio Allegri called Correggio to the three Parmesan domes. Described by Antonio Raffaello Mengs as “the most beautiful of all, which siensi painted before and after him”, the frescoed cupola in the Dome of Parma dated 1524-1530, located above the high altar, depicts the Assumption of the Virgin Mary with an innovative language for that era, made up of perspectives and foreshortenings that mark the transit between earth and sky in a vortex populated by clouds and light.

Also by Correggio is the fresco in the dome of the Basilica of Saint John the Evangelist showing Christ surrounded by the eleven apostles, with John the Elder - the protagonist of the vision - at the base, testimony of the ability shown by Correggio in managing the foreshortened figures, here well exemplified in the architecture of clouds but already present in the frescoes of the Chamber of St. Paul, created around 1519 in one of the rooms of the Abbess Giovanna da Piacenza's apartment with a brand new and original style that presupposes the knowledge of Mantegna's work in Mantua.

Temple of the Blessed Virgin of Ghiara - Reggio Emilia
The grand dome, erected by Francesco Pacchioni on the drawing of Cosimo Paglioni reformed by him, was covered with frescoes by Lionello Spada, a student of the Carracci family, whose work was commissioned in 1614. In the Temple of the Blessed Virgin of Ghiara, an extraordinary monument of faith in Reggio Emilia, which arose following an extraordinary miracle, the work of Spada inspired by the writings of the Old Testament and reveals the great perspectival qualities of the artist who manages to go beyond himself, above all in the realization of the angels.

In 1624 the General Council of the Elders commissioned Giovan Francesco Barbieri, known as Guercino, to create the altarpiece of the Altar of the City (built at the expense of the Municipality of Reggio, whose emblem stands on the top), depicting the Crucifixion with the Madonna, the Maddalena, Saint John the Evangelist and Saint Prosper, patron of Reggio Emilia. The great Altarpiece, preceded by many study drawings, carried out between 1624 and 1625, is certainly the work of greatest undertaking on Guercino’s return to Emilia from Rome.