SACRED MOUNTAINS - CERVENO
The realism of popular faith
The Sacri monti of the Alps were a great choral event in the art of Northern Italy from the beginning of the 16th century. They are places of worship where great artists, who seem to have sprung from nowhere, recounted the story of Jesus. Particularly in Cerveno the sculptor, Beniamino Simoni, created a Via Crucis in wood worthy of Caravaggio
by Giuseppe Frangi
Jesus helped by Simon of Cyrene, chapel V, detail
The Val Camonica was border country. As Saint Charles Borromeo realized during his celebrated and detailed pastoral visit in 1580. Here superstition and tradition often blended into each other. The bishop had laid down rules and given precise indications, so that not even the most remote hamlet would be open to the risks of heresy. He increased the number of Franciscans, the Order responsible for the history of all the Sacred Mountains of the Alps. Later, at the beginning of the eighteenth century, it was a Franciscan, Leonardo da Porto Maurizio, who would spread the devotion to the Via Crucis and stipulated its rules. It was he, for example, who fixed the number of stations at fourteen, as emerges from the dispositions (Monita ad recta ordinandum devotum exercitium Viae Crucis) which Pope Clement XII approved on 3 April 1731. And on this basis a few years later the building of the Sacred Mountain of Cerveno was undertaken.
In the beginning it was simply the determination of a parish priest. Or better, of a dynasty of parish priests: first, Don Pietro Belotti, who for forty years, between 1692 and 1732, was pastor of this handful of souls. His was the idea, supported by friendship with the family of the greatest Bergamo wood sculptors, the family of Andrea Fantoni (there is not a church in these valleys which does not have a confessional, or an altar or simple devotional statue by him or his brothers). Bellotti started on the work, collecting funds throughout the valley and getting substantial response for his project. To supplement his funds he also obtained from Rome the privilege of gaining indulgences through the practice of the Via Crucis. But the Fantonis were involved in too many enterprises to give the attention required by a project that went well beyond the ordinary. Thus Belotti’s successor, Don Andrea Boldini, dramatically decided to do without the famous Fantonis and replace them with his fellow countryman, a native of Val Saviore, a remote valley that slopes down from the Adamello to the Val Camonica. What was in theory only a making-do turned up trumps. And Beniamino Simoni, from Fresine, became the extraordinary creator of this Via Crucis.
Jesus tied to the Cross, chapel XI, detail
What had happened? Recent documents show that Simoni had received an important commission from Brescia: the building of the tableau to celebrate the nomination of bishop Giovanni Molino as cardinal on 10 January 1762. But the episode has its obscure points, because the letters and documents all have the aura of a damnatio memoriae of the artist. A damnatio which produced its effects: Simoni was canceled from history and for almost two centuries nobody paid him any attention, whereas the popularity of the Via Crucis of Cerveno remained however, as witnessed by the tradition of the current, impressive Via Crucis, called the “Santa Crus”, which every ten years since 1800 takes place in the streets of the village, in the presence of an immense crowd.
To rediscover Simoni it took the keen eye of Giovanni Testori who came up here in the ’sixties, was completely overwhelmed, got hold of all the available photographs, and took them to his great master, Roberto Longhi. The response was immediate and unanimous: the chapels with the sculptures by Simoni represented one of the most outstanding episodes in the continuity of the tradition of Caravaggio in Italian art. Testori obviously fell in love with the related history, the erasing of the poor impetuous sculptor from Val Saviore by a rigid and bigoted culture. But now his greatness emerged forcefully from the shadows into which officialdom had banished it. The photos, accurately chosen, gave back substance to a sculptor of violent realism, who attacked his material with passion and strength, and who did not stand back from the harshness of the doings portrayed or from their reality. Simoni, an artist of the people, as so many masters in the Brescia tradition – Romanino especially – did not feel himself a lightweight. Testori underlines both his “ tough and inexorable compactness”, his “grinding and rebellious realism”; but he also speaks of “the clarity of scenic composition which he shows himself to possess in conceiving the chapels”. A clarity – the Lombardian scholar suggests – he can only have got from knowledge and detailed research into the structure of the other great Sacred Mountains, Varallo in particular.
The statues which compose the Via Crucis (chapels VIII, X, I) by Beniamino Simoni; below, Jesus meets the holy women, chapel VIII, detail
Simoni, as said, left the undertaking very close to its conclusion and for reasons still in part unclear. Two eligones of the Fantoni dynasty arrived to replace him. The comparison between the fierce and rough realism of Simoni and the thoroughly polite and clerical detachment of those who took over from him is exemplary and even embarrassing. A demonstration of how the Sacred Mountains always necessited the expressive inventiveness of some great artist, come from nowhere perhaps. Had it been left to the able and flamboyant Fantoni we would have had a sort of Disneyland of the faith ante litteram. Thanks to Simoni we have instead a moving, extremely realistic, if imperfect, account of the Passion.
Every ten years the procession of the “Santa Crus” lives again.
Cerveno stands in the lower Val Camonica, 75 kilometers from Brescia. The street leads off left from the main road, about ten kilometers after Breno. The Sacred Mountain is open every day, from 7am to 12am and from 3pm to 7pm; it is closed only during liturgical celebrations in the adjoining church. The telephone number is 0364-434014. The great procession of the “Santa Crus”, famous in the diocese, takes place every ten years. The last one was in 2002. Near Cerveno, in Breno, Bienno and Pisogne, the masterpieces of Girolamo da Romano, known as Romanino, the greatest Brescian painter of the sixteenth century and one of the most potent precursors of Caravaggio, can be seen.