San Lorenzo's Rotonda (1083)Mantova Museo Urbano Diffuso
This is a beautiful and mysterious place. Nestled between monuments dating to later periods, next to the Palazzo della Ragione and Piazza Erbe, a few metres from St Andrew’s Cathedral, this building, its shape evoking the The Church of the Holy Sepulchre in Jerusalem, was probably completed in the last decades of the 11th century. A period in which Mantua and a large part of Northern and Central Italy was was ruled by Canossa dynasty, and in particular by Matilda of Tuscany, who profoundly humiliated the Holy Roman Emperor Henry IV. Many hypotheses have been formulated concerning the destination of the Rotonda, some of which speak of a connection with the government building of the Canossa. Some have even claimed that the original project dates to the years Matilda’s mother lived, Beatrice of Lorraine, who died in 1076. Others have spoken of a link between this circular shaped and ancestral church and the cult of the Sacred Relic of Christ, that is the blood of our Saviour, brought to Mantua by Longinus, the soldier who pierced the side of Jesus hanging on the cross.
The interior
The interior of the Rotonda is characterized by a sacred atmosphere, the viewer becomes instantly immersed in the Medieval times. Here we can admire the small apse behind the altar, decorated with a Christ on the cross dating to the 20th century, the work of Stefano L’Occaso. It must be kept in mind that in 1460 the church was supposed to be demolished, in the context of a plan that led to the erection of the Albertian church of St. Andrew. Also, in 1579 is was deconsecrated and incorporated in a series and home-workshops which prevented it from being seen and used.
Modern and ancient faith
The beauty of the construction is due to the neatness and geometric perfection of its elements, enhanced by the overall effect created by artistic details dating to different periods. Above, a Christ of the 20th century, in the bottom right hand corner a fresco from the 14th century.
The Saint
The viewer must keep in mind that the interior of the Rotonda was completely covered in frescoes. Among the strips that have survived, one in particular stands out for its beauty, in the area behind the altar. It is an image of St. Lawrence, the deacon who was born in Spain and was martyred during the persecutions of the year 258. According to the tradition he was burnt on a gridiron with blazing wood beneath it.
Lights in the dark
The ten columns below and the twelve columns above, which open up in the matroneum, are different in shape and material. They stand like silent sentinels in time, pacing the magnificent space that was luckily returned to the city following restoration works started in 1908 and concluded in 1911. Unfortunately, the top part of the church had collapsed, so the restoration was extensive and pervasive. However, the skilled intervention was able to harmoniously unite the modern parts and the more ancient ones, with results that are on the whole positive.
Six angels
Not all of the most ancient frescoes were lost. Firstly, inside the ambulatory, at least two vaults are covered in decorations that can still be made out. The one we can admire here shows a circular pattern surrounded by four vaults which delimit sectors in which a total of six angels spreading their wings can be seen. The colours, which once must have been bright, are now faded, but it is still possible to make out the flight of some of the angels. Their features are traced in an archaic way, and there is a gentile smile on their face. We know nothing of the authors, though the workers probably came from afar.
Other frescoes
Only barely visible, this austere figure of the Saint in the matroneum has completely lost its colours, and presents itself to us like a greyish apparition.
A spinning wheel
The small dome of the Rotonda was completely redone. However, the circularity of the construction determines a space that is amongst the most fascinating, mysteriously connected with other circular places inside the city of Mantua: the Bridal Chamber in the Ducal Palace and the House of Mantegna, which are round spaces enclosed in a square; the Chamber of Giants in Palazzo Te; the sinuous bell-shaped Teatro del Bibiena.
The stair
On the opposite side of the apse, so to the right of the actual entrance, at the bottom of the wide flight of steps that starts in Piazza Erbe, two narrow flight of steps lead to the first floor. They are both built into the perimetral wall, and they represent a further suggestive aspect of the construction. It must be mentioned that the Rotonda is managed and taken care of by the Associazione per i Monumenti Domenicani, its headquarters in the House of the Blessed Osanna. The Rotonda, furthermore, is today a consecrated church, and inside masses and weddings are held.
Matroneum
From the matroneum it is possible to appreciate the play of elements, which seem to want to embrace and hold onto the little light filtering in.
The beauty of the holy church
This view from above allows to grasp the traces of the frescoes that once crowded the walls between the two lines of columns.
Spiritual presence
In this area we can find the best preserved frescoes. The scenes cannot be identified entirely. One of the most respected hypothesis reads the images as a sequence, from left to right: the Magi meeting Herod, the Magi worship baby Jesus in the arms of the Virgin Mary, Presentation of Jesus at the Temple, Crucifixion. Actually the only scene with a certain interpretation is the one depicting the Adoration.
The Magi
It is worth noting that the scene of the Adoration, to the left of the altar, stands out for the paintings on some of the columns and pilasters. This gives the whole area a classic tone, that can certainly be related to the presence of Roman workers and artists, able to bring together the Byzantine tradition with elements that display a greater freedom, more similar to the style developed in the capital. Although the figures are not perfect, the quick brushwork attempts to represent the movement and the haste of the Magi. The decorations were completed with a somewhat naif intention, although they also display a certain grace.
God's spell
This column stands between the scene that supposedly represents the Presentation and the scene supposedly depicting the Crucifixion. Its Corinthian capital is painted with rich vegetation and leaves opening up in a natural way.
Terracotta tile
The presence in the Rotonda of various fragments dating to a period that is much more ancient than the Rotonda itself adds to the mystery. For instance, on the wall between the columns on the lower level and the columns of the matroneum, we find three tiles that are very similar. They are decorated with winged griffons facing each other separated by a vase, almost certainly symbolizing the Tree of Life. The one we can see here is damaged in the centre, but it still allows to identify a small and significant scene. The origin of the fragments is unknown. They evidently come from a preexisting construction, and this highlights the cultic continuity of the place, where according to a legend the Temple of Diana once stood.
A marvelous sight
A last view of the beautiful and suggestive church. The starting point of the very long Christian history of Mantua, its cornerstone is certainly the Sacred Relic. Worshipped in silence, it is a hidden though very actual presence.
Ideato e promosso da / Founded and Promoted by: Mattia Palazzi (Sindaco del Comune di Mantova) con Lorenza Baroncelli (Assessore alla rigenerazione urbana e del territorio, marketing urbano, progetti e relazioni internazionali del Comune di Mantova) Coordinamento Scientifico / Scientific Coordinator: Sebastiano Sali Curatore testi e immagini / Superintendent texts and images: Giovanni Pasetti Foto di / Photo by: Art Camera Redazione / Editor: Erica Beccalossi Assistente / Assistant: Annica Boselli
