Santa Maria Maggiore Church The church you are admiring is Santa Maria Maggiore. Although the building was often referred to as baroque, the structure dates back to the 15th century, while the decorations of the entrance portal, with lateral capitals and wavy elements of the tympanum framing a small niche, can be dated back to the 18th century. The church of Santa Maria is built on the remains of the ancient Roman Forum. The interior of the religious building consists of a single nave with the apse. The pavement is the original one in cocciopesto: a waterproof coating consisting of crushed bricks and mortars. Entering, on the right, you will notice the baptistery in carved stone closed in a wrought iron gate and the holy water font. Along the nave there are ten altars, one of which is made out of marble, is dedicated to San Biagio patron of the city of Atena. Getting a closer look, on the four altar-steps you will notice the presence of floral majolica tiles probably dating back to the fifteenth century. The main altar was made using polychrome marble, while the presbytery area is bordered by a balustrade. Behind the main altar there is a walnut choir that was used during the liturgy of the hours prayer. In 1751 the church of Santa Maria Maggiore underwent a series of renovations and most likely the series of eight paintings depicting the Apostles and the Fathers of the Church were made during that time. Of the same period is also the Marian cycle consisting of three canvases representing the Birth of Mary, the Annunciation, and the Presentation at the Temple of Mary. The apostles recognizable on the basis of careful observation of the symbolism in the paintings are: Matthew, John, Thomas and Peter on the left; Bartholomew, James the Greater, Andrew and Paul on the right. These works were attributed to a painter perhaps originally from Polla, Peccheneda, which breaks with the Jordanian and rococo tradition spread in the Vallo di Diano by another local author, Palmieri. Particularly worthy of note is the wooden drum on which is placed an eighteenth century organ. In one of the niches on the left there is a Statue of the Virgin with Child, previously venerated in the Sanctuary of the Dove (Santuario della Colomba) and moved into the Church of Santa Maria Maggiore, following the last earthquake that affected the area. The statue is of great artistic interest: originally dated to the 15th century is supposed to be much older and its construction can be dated between the XIII and the XIV century; The Madonna can in fact be traced to pre gothic Iberian inspired models circulating on the Peninsula at the beginning of the year 200. The bell tower of the church of Santa Maria Maggiore is completely made out of stone and features single-light windows on the four sides of the facade.
Santa Maria Maggiore Church Did you know that... During the sixteenth century the Church of Santa Maria Maggiore was also known by the name of Santa Maria degli Angeli. The name refers to the many sculptures of angels that embellish the building which are 108.
Sanctuary of San Ciro What you have in front of your eyes is the Church of San Ciro, patron saint of Atena Lucana, one of the oldest churches in the town territory, as there is evidence of its existence as early as the 11th century. San Ciro is one of the most revered figures of the Christian religion and its connection with miraculous healing ability is probably due to the fact that he worked as a doctor. The Saint, to escape persecution by Diocletziano, as a layman, started following a life of hermitage and penance. Returning to Canapo under Massimino to support four Christian women in their captivity and suffering, he was captured and martyred by decapitation with the women and his disciple, on January 31, A.C. 303. Some elements in the architecture of the building and the presence of Roman inscriptions are evidence of the preexistence in this place of an ancient pagan site. The Church is built on the Temple of Cibele, the Anatolian deity worshipped by the Romans and known as Magna Mater. The portal is very similar to that of another ancient atinate Church, Santa Maria Maggiore, and according to scholars seems to suggest, a common author. On the portal, however, the date 1739 written in Roman numerals refers to one of the many renovations the building has undergone over the centuries. The original structure of the Church can be seen in the three vaults structure with side chapels and the capanna façade. Entering the building the first thing that catches your eye is the high marble altar built in the late 19th century by Agnello and Fiorentino Comforti, marble-workers from Salerno. Behind the altar is a wooden choir built in the 17th century, above which a seventeenth-century painting representing Saint Michael the Archangel stands tall. The church was dedicated to Saint Michael until 1965. A small door adjacent to the choir gives access to the sacristy where a work of exceptional value is conserved: a 14th-century fresco representing the Ecce Homo. Particularly noteworthy is the marble Chapel of San Ciro, at the end of the right vault, where a statue of the Saint created by Michele Abbruzzese from Salerno is located. Of great importance is also the Pessolano Family Chapel, where you can admire a painting by Nicola Peccheneda dating back to 1787, depicting the Virgin Mary between St. Stephen and St. Luigi Gonzaga. The chapel of the family Curto preserves a seventeenth-century painting depicting the Madonna delle Grazie. Instead, in the Crucifixion Chapel you can admire an outfit dating from the 18th century. Finally, of great historical and artistic interest is the chapel that belonged to one of the most prominent noble families of Atena, the Sabini del Sole. Here you can admire a painting with a Madonna with Saints theme, as well, specifically the artwork depicts a Madonna between St. John the Baptist, Saint Matthew and Saint Vitus.
Sanctuary of San Ciro Did you know that...... the Church of San Ciro became a sanctuary in 2003 to commemorate the 150 years anniversary of a miraculous event associated with the Saint, which took place in 1863. The local news of the time, in fact, narrates the story of a young woman by the name of Maria Pessolano, bedridden and dying from a terrible disease. In her final hours the girl, surrounded by friends and family, rose up from the bed and left everyone in disbelief by leaving the house and knealing in front of an antique statue of San Ciro that, after the 1856 earthquake that had devastated Atena, had been stored in the little church of St. Nicholas. After a long period of prayer the young woman returned home completely healed. After that event the statue was returned to the Church of San Ciro where it can still be found today. The feast of San Ciro is celebrated every third Sunday in May
The Church of St. Nicholas The Church of St. Nicholas is probably the oldest church in the city of Atena; it was, with good approximation, built between the end of the ninth century and the beginning of the tenth. From information reported by Giovan Battista Curto, who has devoted numerous studies to the city of Atena, and some archived documents, it can be seen that during the fifteenth century the church of St. Nicholas was taken under the care of the San Michele Arcangelo Church, today Sanctuary of San Ciro, and remained such until the Council of Trento declared it a parish. From the late 19th century it was the residence of the Dove Covenant. If you enter the building you will immediately notice the structure with a single vault ending with a cross. Subsequently, the church was adapted on both sides to accommodate the stalls on which the Prior and the members of the Congregation sat. The Church of St. Nicholas was the least damaged church by the earthquake of 1857 and for this reason many statues from other churches were moved here; like the Statue of San Ciro, which was the statue the seriously ill Maria Pessolano kneeled in front of in 1863, and was miraculously cured. Today the statue is back to its original place, while in St. Nicholas remains the main altar belonging to the Church of San Michele Arcangelo, as evidenced by the bas-relief under the altar representing the saint. The altar, made of marble and stone, dates back to 1790. Behind the altar is a painting depicting St. Nicholas Bishop with a young man. If you observe carefully, near the front door on the right side you will notice a medallion of the commemorative 1200 jubilee.
The Church of St. Nicholas Did you know that...... the Church of St. Nicholas, like all the churches built before the year 1000, has its apse facing East so that pilgrims in the act of praying would always have their backs turned to the West. The symbolism of the gesture is clear: backs are turned to the devil and faces are turned to Christ, as the only true light and salvation.
Church of Saint Joseph & Holy Souls in Purgatory A few meters along this road there are two rather ancient churches: the Church of Saint Joseph and the Church of the Holy Souls in Purgatory. St. Joseph s Church was originally dedicated to St. Catherine of Alexandria, martyred during the persecution of Massimino Daia. The original name of the Church transpires also from a 14th century fresco above the main portal of the church,wherethe faded figure of a woman recognizable asthe worshipped St. Catherine can be found. In its interior the Church is very modest: the structure that consists of a single vault was enriched with some decorations only in the 18th century but remained fairly simple. In the 19th century, the noble family of Pessolano-Filos bought the building from the State and named it after St. Joseph. The family coat of arms is visible on the small altar made from stone of Padula (a nearby town). In the presbytery, at last, you can admire a wooden statue of the Saint. While the chapel of Saint Joseph is in excellent condition and is open to the public, the same is not true for the nearby Church of the Holy Souls in Purgatory. Formerly dedicated to Saint Sophia, the church was severely damaged by the earthquake and is currently closed to the public. The church stands out for its facade facing East (a typical quality of early Christian churches that imitated Greek and Roman temples), it has a regular plan with a brickwork structure and was restored in the 19th century by the Mango family.
Church of Saint Joseph & Holy Souls in Purgatory Did you know that...... According to tradition the ancient Church of Santa Sofia was built near an ancient Roman amphitheater. In the same area was then placed a big marble cross with three circular bases to commemorate the many Christians who had died for their faith. However, not all sources agree on the location on the amphitheater in that area, since in ancient times the area was crossed by the Roman decuman. According to some theories,the amphitheatre could belocated near the Church of St. Mary of Costantinople, an example of industrial archeology through the rehabilitation of an old slaughterhouse in the 60s.
Sanctuary of Santa Maria delle Colombe The ancient building you see in front of you, nestled in a spectacular natural setting, is the Sanctuary of Santa Maria delle Colombe, the site has for many centuries been the object of great popular devotion. Unfortunately, the place of worship, like many others in the city of Atena, has been damaged by multiple earthquakes affecting the town, but still houses invaluable artistic treasures. The Virgin with Child originally dated to the fifteenth century, but probably dating back to the 14th or 13th centuries, was especially worshipped by the people in the area. Today, the statue, that was damaged under the ruins of the last earthquake, has been restored and is preserved at the Church of Santa Maria Maggiore, along with another statue of the Madonna traditionally used for processions. The sanctuary extends over the valley with the same name the palomba. The entrance opens with a stone portal of the eighteenth century, with a carved dove in the keystone, and two angels made out of Padula s stone on the sides and works of Andrea Carrara supporting a dove. Entering the church of Santa Maria della Colomba, after crossing a small courtyard with a beautiful view you can admire, the first thing that catches the eye is the main altar in marble that, based on its characteristics, was probably built in the 18th century. Observing the walls of the Sanctuary you can admire what it is left of the Marian cycle created in 1713 by Anselmo Palmieri, an active painter in the Vallo di Diano s territory in the first quarter of the eighteenth century. Perhaps originally from Polla, Palmieri s formal education in almost all certainty took place at the school of the great Neapolitan painter Giordano, as shown by details and quotes in the depictions of the cycle representing The Birth of the Virgin, the Presentation of Mary to the Temple, The Marriage of the Virgin, The Visitation, The Adoration of the Shepherds and the Purification of Jesus. More specifically, references to the great Neapolitan painter can be seen in the clerics holding candles and in the facial features of St. Anna. Originally the church ended at the end of the anselmian cycle. However, when in the nineteenth century it became forbidden to bury the dead within the city walls, the structure of the sanctuary was enlarged and joined with a new building located in the valley to burry the dead. On one side of the cloister s perimeter are still visible the trap-doors leading to the crypt, while the burial epigraphs first places on the floor have been moved along the wall.
Sanctuary of Santa Maria delle Colombe Did you know that...... according to the popular tradition the Sanctuary of Santa Maria della Colomba was built following a miraculous event. After losing a bull, a shepherd led by a dove, found the animal knelt in front of a sacred image of the Madonna placed in the groove of a tree. Another legend says that it was a prodigious snowfall to outline the perimeter on which the foundations of the church were laid. The Feast of the Dove falls on July 2nd
Chapel of St. Anthony at the Arnici Amongst the churches and buildings severely damaged by the last earthquake, the Chapel of St. Anthony at the Arnici was perhaps one of the most damaged and is, today, closed to the public. There is no documentation to determine the date of construction of the first chapel. We know, however, that it had to be built prior to 1837, because a notarial act bearing the words Agro Sancto alli Arnici and reporting the church as the site a burial place in that year, exists. Devotion to St. Anthony of Padua was probably introduced to the territory by the Franciscan friars and its spreading must be linked to the work of the observant minor friars of the Convent of St. Anthony at Polla who had the right to collect charity in the area of Atena Lucana. Today the chapel remains intact only on its exterior, and a masonry and local stone building rising on two levels is attached to its left side. The stone portal resembles a style that can be dated between the eighteenth and nineteenth centuries, and is towered by a niche with an eighteenth-century fresco of St. Anthony of Padua and a small rectangular window. On the right side there are three rectangular windows, while the back wall shows a vertical crack between the chapel and the adjacent dwelling, a clue that suggests how the home of the oblate or recluse, who lived there, was built later. The interior of the chapel is of rectangular shape and the ceilings are high and wide. It was probably a church with a profile in high demand because of its use of marble and grouting, as evidenced by descriptions prior to the earthquake. The interior sides showed two mirror arches per side, at the bottom of which were polycrous stucco altars, with niches for arched canvas (curved upwards). The arches were divided by pilasters with Doric capitals containing ornamental motifs and simple foliage. The back wall was the main altar with a niche that ended with a foliage shell. Before its destruction, the chapel underwent restoration in 1928 by Don Gabriele Volpe.
Chapel of St. Anthony at the Arnici Did you know that...... the name of Sant Antonio at the Arnici has an uncertain etymology and perhaps refers to arnica, a wild plant with important medicinal properties. The arnica name is supposedly derived from the altered late-latin ptarmica word and from the Greek ptarmikos which literally mean sneezing. Arnica, in fact, when chopped and inhaled, causes sneezing just like tobacco.