St. Maria of Collemaggio, L'Aquila
Categories of Articles
The Romanesque facade is horizontal at the top; the right half is larger that the left, and is sided by an octagonal tower, what is left of an original bell tower demolished after an earthquake. The three portals and three rose-windows are all different. The central portal, which dates back to the XV century, is decorated with 28 niches arranged in two rows over a basement with square engravings of flowery motifs. In the lunette, beneath a stone eagle, there is a fine, recently-restored fresco showing the Virgin with Child, St. John the Baptist and St. Peter Celestine, the three key figures connected to the church and the Perdonanza.
After one more year the church was opened, though still unfinished, and on 29 August 1294, when Peter was crowned Pope there, it had been probably completed along with the attached monastery. In the following century the Holy Door, which has become a part of the whole ritual of the annual Perdonanza, was opened in the left side of the church.
Works on the church went on for over a century, which is why so many different styles are present. The original austerity soon gave way to complex additions in the form of sculptures, frescoes and ornaments, especially after the hermit pope was made a saint under the name of Saint Peter Celestine (1313), his relics were brought to the church (1327) and pilgrims from all over Christianity came for the annual Perdonanza. For a long time the church was isolated from the city and the Colle di Maggio could be reached only getting out of L'Aquila through a door in the city walls, the Porta di Bazzano. Only in 1854, after filling the valley between the two hills with material discarded from the construction of the new theatre of St. Ferdinando, a direct link (nowadays called Viale di Collemaggio) between the city and the church was begun, to be finally completed in the 1930's.
At the far end of the right aisle there's the tomb of St. Peter Celestine, whose mausoleum, paid for by the guild of wool workers in 1517, is the work of Girolamo da Vicenza. The relics were placed into silver urns: a first urn was stolen by the Prince of Orange in 1530, and a second by the French in 1646. The present urn was made at the end of the Second World War by Aquilan goldsmith Luigi Cardilli. In the transept there are two Baroque altarpieces; the right one shows a fine Virgin statue of the XIV century, probably by Silvestro dell'Aquila, a pupil of Donatello's.