Sanctuaire de la Blessed Virgin of Miracles, Saronno, Italy

The sanctuary’s interior decoration began soon after the completion of its Renaissance architecture, with several renowned Lombard artists contributing to the artistic program. Painters such as Bernardino Luini, Cesare Magni, Gaudenzio Ferrari, and Bernardino Lanino, along with wood sculptors like Andrea da Milano and Giulio Oggioni, created works that continue to decorate the sanctuary today.

Bernardino Luini, a prominent figure associated with the sanctuary, is known for the frescoes in the apse, presbytery, and antepresbytery, as well as those beneath the dome. These works focus on key moments from the life of the Virgin Mary. In the antepresbytery, for instance, Luini painted the Marriage of the Virgin and Jesus Among the Doctors. The presbytery features the Adoration of the Magi and the Presentation of Jesus at the Temple. Luini’s narrative style, with its delicate figures and rich use of perspective, conveys a sense of calm movement and grace. His use of “sfumato,” a technique developed by Leonardo da Vinci, gives his figures a soft, almost ethereal quality.

The sanctuary’s frescoes are part of a larger cohesive artistic program. The scenes are framed by pilasters, supporting terracotta arches, and surrounded by representations of the Four Evangelists and Four Doctors of the Church. The pilasters are adorned with monochrome figures symbolizing the theological and cardinal virtues, as well as Peace. Through these works, the interior of the sanctuary reflects both the grandeur of its architectural design and the deep faith of the Lombard people, making it a significant religious and artistic landmark.

The Frescoes of Gaudenzio Ferrari

After the death of Bernardino Luini in 1532, Gaudenzio Ferrari was invited to continue the fresco work at the Sanctuary of the Blessed Virgin of Miracles in Saronno. Ferrari, who had been completing frescoes in San Cristoforo in Vercelli, signed a contract for his work in Saronno on 15 June 1534. Between the signing of the contract and the start of the fresco work in July 1535, Ferrari conceptualized preparatory drawings for both his paintings and the wooden sculptures that Andrea da Milano would create. Ferrari thus assumed the critical role of coordinating the entire decorative scheme for the dome of the sanctuary, a responsibility he held until 1545, the year before his death.

Ferrari, hailing from Valduggia, had previously tackled the theme of musical angels during his early career in Varallo, specifically in the Sacro Monte. Now, more than thirty years later, he returned to the theme, this time on a grander scale, as he was entrusted with painting an entire dome. He chose the “Concert of Angels” as his central theme, a joyful depiction of Paradise welcoming the Blessed Virgin, filled with musical and angelic presences.

In his fresco, Ferrari arranged a multitude of angels in concentric circles, each group performing a musical role. The angels in the highest circle, bathed in light, look upward toward the Eternal Father, who is situated at the center of the dome. Below them, in a vibrant concert, other angels sing and play an array of instruments. Ferrari’s painting includes 56 different musical instruments, including harps, lutes, bagpipes, flutes, trumpets, and more. These instruments are not merely depicted as realistic representations but are part of a greater metaphor for the divine harmony of Paradise.

Ferrari’s composition is filled with energy and color, capturing the harmonious chaos of the heavenly concert. He even took artistic liberties with some of the instruments, inventing hybrids or imbuing moments of playful irony, such as depicting an angel playing a bagpipe with two bags. This whimsical touch reflects Ferrari’s love of music, as he was known to play the lyre and lute, a fact recorded by Lomazzo in his Temple of Painting (1590). The diversity of instruments and the exuberant energy of the scene underscore the idea of a divine musical “Babel,” where countless voices come together in perfect unity.

The Wooden Statues of Andrea da Milano

Alongside Gaudenzio Ferrari’s frescoes, Andrea da Milano, a prominent Lombard sculptor, contributed greatly to the sanctuary’s artistic program. His involvement in the sanctuary began in 1535, and his work continued until 1539, when the sanctuary’s sculptural elements were completed.

Andrea da Milano created several life-sized, polychrome wooden statues for the sanctuary. His most notable works include sculptural groups for the side chapels, adjacent to the dome hall. In the left chapel, which Bernardino Luini had previously decorated with frescoes of angels holding the symbols of the Passion, Andrea carved “The Last Supper” scene. This work is characterized by its dramatic intensity, with the apostles reacting to Christ’s announcement of betrayal. Andrea’s careful attention to the figures’ poses, the use of color, and the drapery evokes the emotive power of Leonardo’s famous Last Supper.

In the right chapel, Andrea da Milano’s sculpture of the Lamentation over the Dead Christ (or Deposition from the Cross) is a poignant and powerful work. The figures in this group are expressive, emphasizing the sorrow of Christ’s death. Originally, this scene was part of a larger sculptural group that included other moments of Christ’s Passion, such as the Descent into Limbo. Today, only the Lamentation remains intact, though some pieces were later re-arranged.

Andrea’s work in the dome is equally important. He carved the figure of the Eternal Father, positioned at the center of the dome, and began the figure of the Assumption of the Virgin at the drum’s height. The latter was completed by Battista da Milano in 1537. In addition to these major works, Andrea da Milano also created statues of saints, including Saint Lucy, Saint Agatha, Saint Mary Magdalene, and others. These statues adorned the sanctuary, enhancing its religious significance and artistic grandeur.