Sanctuary of Our Lady of Sorrows - Rho

Chapel of the Sacred Heart

Chapel of St. John

Chapel of St. George

Visit Gesiolo

Return inside the Sanctuary

The fresco

The Seven Sorrows of the Virgin

The Chapel of St. Joseph

The Chapel of St. George

Altar, Lectern and Seat

The central nave

The Gesiolo

Sacred Heart of Jesus - Oil on canvas

San Carlo Borromeo - Andrea Lanzani (1684) - Oil on canvas

Chapel of San Carlo

Introduction to Gesiolo

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Frescoed ceiling at the entrance

Jesus falls carrying the cross

Jesus in the temple

Jesus on the cross

The Deposition from the Cross

The Flight into Egypt

The prophecy of Simeon

Photography of the Nativity Scene

Saint George and the Dragon - Oil on canvas by Giovanni Ambrogio Figino (1586)

“Rest on the Flight into Egypt” - Camillo Procaccini (~1603) - Oil on canvas

Heraldic Coat of Arms of the Simonetta Family

Heraldic Coat of Arms of the Simonetta Family

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The Cross

Virgin and Child - Artist and era unknown - Oil on canvas

The Organs of the Sanctuary

The allegory of the Church

Chapel of the Immaculate Conception

Chapel of Sant'Ambrogio

Chapel of St. Anne

The Sanctuary-Basilica

The Missionary Oblate Fathers

The fresco of Our Lady of Sorrows - DeepZoom

Aerial View - Drone

The Nativity Scene of the Sanctuary of Rho

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Sanctuary of Our Lady of Sorrows - Rho
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Sanctuary of Our Lady of Sorrows of Rho
The Sanctuary of Our Lady of Sorrows in Rho was founded following a miracle that occurred in the spring of 1583, on April 24th. Two citizens of Rho, while praying before a fresco depicting the Pietà, saw the Virgin begin to weep blood. Following this important event, Archbishop Carlo Borromeo decided to build a place of worship to celebrate the figure of Mary. It was the last major building constructed by the archbishop, beginning on March 6, 1584.
The sanctuary was entrusted to the care of the Oblates of Saint Ambrose and Saint Charles. In 1721, with the figure of the Venerable Giorgio Maria Martinelli, the branch of the order that still takes care of the church today was born: the Missionary Oblates. Over the centuries, the building and the adjacent college underwent several modifications, influenced by the various historical events that affected Lombardy and Rho, as well as by successive artistic tastes. Both the college and the sanctuary were suppressed by the Habsburgs and Napoleonic orders: for this reason, their completion took place only in the final decades of the 19th century. Finally, in 1923, Pope Pius XI elevated the church to a minor Roman basilica. The architecture, frescoes, statues, and paintings are all designed to celebrate the figure of Mary, the undisputed protagonist of the sanctuary, the missionary nature of the Oblates, and their connection with the Milanese church.

Today, the sanctuary hosts prayer groups and pilgrims, who come to contemplate the miraculous fresco and to follow the spiritual exercises led by the Missionary Oblate Fathers. The college and its annexed buildings are dedicated to hospitality and cultural events, promoted by various local associations.
The Sanctuary
Entrance to the Sanctuary
Chapel of Sant'Ambrogio
Chapel of San Carlo
Chapel of the Sacred Heart
Chapel of the Immaculate Conception
Chapel of St. Anne
Chapel of St. George
Chapel of Saint Joseph
Altar
Apse and Fresco of the Miracle
Fresco of the Miracle
Right pulpit
Left Pulpit
sacristy
Choir
Entrance to the Gesiolo
Gesiolo fresco
Artistic Elements
the chapel of st. joseph in the right arm of the transept is one of the oldest chapels in the sanctuary. the altarpiece represents “ the rest from the flight into egypt ”, a work by one of the most influential painters of 17th-century lombard art: camillo procaccini. the scene depicts mary, dressed in voluminous clothes with the symbolic colours of tradition, holding baby jesus in her arms, to whom saint joseph is offering a fruit. made around 1603, the altarpiece shows the mannerist-baroque taste that was slowly spreading in northern italy, thanks also to the presence of major ecclesiastical patrons, such as the milanese curia. by the same author and of particular note for the vivid beauty of the colours is the lunette above the altar, representing angels in glory . it is also important to note the presence of two large coats of arms that dominate the upper sides of the chapel. the emblem, quartered with golden lions and a cross , is linked to the rhodian branch of the simonetta family. for centuries, the family was one of the most important of the italian nobility. one of its most famous members was cicco simonetta, a diplomat during the duchy of francesco sforza and regent of the kingdom after the assassination of galeazzo maria sforza. the presence of this family in rho is also underlined by the scheibler-simonetta villa, a few dozen meters from the sanctuary. The Chapel of St. Joseph the seven sorrows of the virgin walking through the sanctuary it is not difficult to spot the “ seven sorrows of the virgin ” on the counter-façade and in the arms of the transept: frescoes depicting episodes in which mary suffered or received particularly painful news. these episodes were chosen because they are characteristic of the " sequela dell'addolorata ," to which the sanctuary in rho is dedicated. they were created in the second half of the 19th century by giuseppe carsana , a painter of the bergamo school. the preparatory sketches are still preserved today in the oblate college. on the counter-façade there are the episodes of the “ flight into egypt ”, when mary had to flee with jesus and joseph from king herod, and the “ prophecy of simeon ”, who had prophesied mary's future sufferings. in the right arm of the transept , looking at the altar, there is the episode of the “ meeting of mary with christ on the way to golgotha ” and “ jesus among the doctors ”. in the opposite arm , “ the crucifixion of christ ” and “ the deposition from the cross ”. looking carefully, the scenes represented are six and not seven: this choice by the client is due to the fact that the seventh sorrow, “ the burial ”, would have been in place of the miraculous fresco or covered by it, in the choir. The Seven Sorrows of the Virgin the fresco the fresco depicts one of the most recurring themes in christian sacred art: the pietà. christ, taken down from the cross, lies in the arms of the virgin, who contemplates her son's body with tears. the work was part of a gesiolo, a small country oratory, dating back to 1522. this must have faced the road leading to lainate, along one of the ancient stretches of the simplon pass, now corso europa. following the "miracle of the tears of blood," which occurred on april 24, 1583, construction of the sanctuary began, gradually incorporating the small chapel. by 1589, five years after the cornerstone was laid by charles borromeo, the sanctuary's apse was nearly completed, and it was possible to move the fresco to the upper altar, allowing it to be venerated by the ever-increasing number of pilgrims. to expedite the completion of the project, saint charles's successor, gaspare visconti, assisted by bishop federico borromeo, decided to remove the fresco using the "stacco a massello" technique. this process requires much less time than the "strappo" technique but is much more invasive. indeed, observing the fresco, one can see figures on the sides, only partially visible. these were figures participating in christ's lamentation, but they have been lost because, with the "stacco a massello" technique, only the affected portion of the wall is removed. restoration work in the 1990s revealed that the background, covered in black in the 17th century, recreates the countryside surrounding gesiolo at the time of the miracle. today, although it requires further restoration, the "miraculous fresco" attracts thousands of pilgrims who come every year to admire, and especially to venerate, this work of the italian renaissance. The fresco the chapel of st. george the left portion of the transept houses, at its end, the chapel of san giorgio, the second oldest. the decoration of the altar was entrusted, around 1614, to pier francesco mazzucchelli, known as morazzone, a lombard painter of the counter-reformation period. he created the cycle of frescoes depicting the hagiography of saint george, with a distinctive baroque style, influenced by his training in rome. of particular note is the presence of a trompe-l'oeil on the left side of the chapel: in the scene depicting the episode "saint george forced to pray to the pagan gods," a soldier, frightened by the earthquake caused by the saint, appears to be falling from the fresco frame. at the centre of the chapel there is an altarpiece depicting “saint george and the dragon” by ambrogio figino, a mannerist painter of the lombard scene. The Chapel of St. George altar, lectern and seat following the modernization of the altar after the second vatican council, the decoration was entrusted to the internationally renowned italian artist floriano bodini . the altar, lectern supported by an angel, and the celebrant's chair were made of candoglia marble in 1998. this material, for the exclusive use of the veneranda fabbrica del duomo di milano, underlines the close link between the “ mother church ” of the archdiocese and the sanctuaries connected to it. Altar, Lectern and Seat the central nave the church , with a latin cross plan and a single nave, features an imposing central vault divided into four pendentives . these were painted in the 1890s by luigi morgari, a piedmontese painter whose works can be found throughout northern italy. the four plumes represent respectively: the laying of the foundation stone : present in the right vault, the fresco shows saint charles borromeo, surrounded by the faithful, nobles, servants and religious figures, while blessing the foundation stone of the sanctuary. the council of nicaea : the veil facing the altar depicts one of the most important events in early christianity: the council of nicaea. convened by order of emperor constantine in 325, the council openly condemned arianism and helped heal various divisions within the christian church and, consequently, within society. the miracle of the madonna of the snow : the church containing the miraculous fresco was dedicated to the "madonna of the snow." for this reason, the left-hand vault recounts the miracle of the same name, which occurred in august 352, when it snowed on the esquiline hill and the snow formed the shape of a church. it became one of the most important and ancient marian shrines in the world: the basilica of santa maria maggiore. pentecost : the vault facing the counterfaçade depicts one of the most significant moments in the christian religion: pentecost. fifty days after easter, the holy spirit descended upon mary and the disciples gathered around her. this episode is particularly significant for the christian church because it marks the moment when it opens itself to the entire world. The central nave sacred heart of jesus - oil on canvas Sacred Heart of Jesus - Oil on canvas chapel of san carlo dedicated to the founder of the sanctuary, it was decorated by the milanese painter andrea lanzani (1630-1712), who executed the frescoes and altarpiece in 1684. the imposing altar, in varenna marble, is flanked by two tall corinthian columns supporting a classical tympanum bearing the motto of saint charles 'humilitas' at its center. the altarpiece features the famous painting saint charles communicating the plague victims. the canvas stylistically recalls 17th-century roman painting and depicts the saint giving communion to an elderly plague victim, already celebrated by his contemporaries for its realism, in the center. in the foreground, a child clings to his mother's corpse, and a cleric behind the saint holds his nose with a handkerchief. the dramatic theme of death contrasts with the serenity of the archbishop, pointed to by the beautiful angel piercing the clouds to reveal a beam of light that illuminates his face. on the vault, the fresco depicts the triumph of the church, identified as a female figure wearing the papal tiara, the papal tiara, and the keys of peter, who is being offered the sacrificed lamb. here, the artist, through a fusion of painting, sculpture, and architecture, creates one of the most successful baroque works in the lombardy region. also on the vault are two frescoes: the birth of adam and eve and the expulsion of the first parents from the garden of eden. on the sides of the altar, within false niches, saint ambrose and saint barnabas are surmounted by their respective monochrome scenes depicting the episodes of the baptism of saint augustine and the baptism and conversion of the pagans. on the sides, above the windows, two panels with latin inscriptions held by stucco cherubs recall the foundation of the sanctuary, while below the windows, two frescoes depict the birth of saint charles and the meditation of saint charles on the tomb of christ. the balustrade and the marble altar table are modern, made in 1933 on the occasion of the removal of the ancient balustrade surmounted by an iron gate. Chapel of San Carlo san carlo borromeo - andrea lanzani (1684) - oil on canvas @import url('https://fonts.googleapis.com/css2?family=playfair+display:ital,wght@0,400;0,600;1,400&family=lato:wght@400;700&display=swap'); .museum-card { width: 100%; max-width: 900px; background: #ffffff; font-family: 'lato', -apple-system, blinkmacsystemfont, "segoe ui", helvetica, arial, sans-serif; color: #1a1a1a; line-height: 1.6; box-sizing: border-box; overflow: hidden; -webkit-font-smoothing: antialiased; } .media-container { width: 100%; height: 55vh; min-height: 350px; max-height: 600px; background: #f4f4f4; border-bottom: 1px solid #e0e0e0; } .media-iframe { width: 100%; height: 100%; border: none; display: block; } .info-wrapper { display: grid; grid-template-columns: 260px 1fr; gap: 30px; padding: 30px; background-color: #fff; } .specs-column { font-size: 0.95rem; border-right: 1px solid #eee; padding-right: 20px; color: #222; } .specs-title { font-family: 'playfair display', serif; font-size: 1.1rem; text-transform: uppercase; color: #c9b37e; margin-bottom: 20px; border-bottom: 2px solid #c9b37e; padding-bottom: 8px; display: inline-block; font-weight: 600; } .spec-item { margin-bottom: 16px; } .spec-label { display: block; font-weight: 700; font-size: 0.75rem; text-transform: uppercase; color: #666; margin-bottom: 3px; } .spec-value { font-size: 1rem; color: #111; } .text-column { font-size: 1.05rem; color: #222; } .text-scroll-area { max-height: 500px; overflow-y: auto; padding-right: 15px; } .text-scroll-area::-webkit-scrollbar { width: 6px; } .text-scroll-area::-webkit-scrollbar-thumb { background: #ccc; border-radius: 3px; } .text-column p { margin-bottom: 1.2em; text-align: left; } .text-column h3 { font-family: 'playfair display', serif; font-size: 1.3rem; margin: 25px 0 15px 0; color: #1a1a1a; } .museum-box { font-size: 0.95em; border-left: 3px solid #c9b37e; padding: 15px 20px; margin: 25px 0; background: #faf9f5; } .visitor-note { font-style: italic; background: #f4f4f4; border-left: 3px solid #666; padding: 15px; font-size: 0.95em; margin-top: 30px; } @media (max-width: 768px) { .info-wrapper { display: flex; flex-direction: column; padding: 20px; } .specs-column { order: 1; border-right: none; border-bottom: 1px solid #eee; padding-bottom: 20px; display: grid; grid-template-columns: 1fr 1fr; gap: 15px; } .specs-title { grid-column: span 2; } .text-column { order: 2; } .media-container { height: 40vh; } .text-scroll-area { max-height: none; overflow-y: visible; padding-right: 0; } }technical data sheetauthor andrea lanzanidating 1684technique: oil on canvaslocation of the sanctuary of our lady of sorrows, rhothis canvas, a masterpiece by andrea lanzani , stylistically recalls 17th-century roman painting. at the center of the composition, the saint is portrayed in the solemn act of giving communion to an elderly plague-stricken man.realism and contraststhe work is celebrated for its stark realism: in the foreground, a child desperately clings to his mother's corpse, while a cleric behind carlo borromeo holds his nose with a handkerchief to protect himself from the miasma of the plague.divine light: the drama of death contrasts with the serenity of the archbishop, illuminated by a beam of light emanating from a monumental angel intent on tearing apart the clouds.detail to observe: note the chromatic contrast between the earthy tones of human suffering and the golden luminosity that envelops the figure of the saint and the angel above. San Carlo Borromeo - Andrea Lanzani (1684) - Oil on canvas new tag new Tag new tag new Tag frescoed ceiling at the entrance Frescoed ceiling at the entrance jesus falls carrying the cross Jesus falls carrying the cross jesus in the temple Jesus in the temple jesus on the cross Jesus on the cross the deposition from the cross The Deposition from the Cross the flight into egypt The Flight into Egypt the prophecy of simeon The prophecy of Simeon photography of the nativity scene Photography of the Nativity Scene “rest on the flight into egypt” - camillo procaccini (~1603) - oil on canvas @import url('https://fonts.googleapis.com/css2?family=playfair+display:ital,wght@0,400;0,600;1,400&family=lato:wght@400;700&display=swap'); .museum-card { width: 100%; max-width: 900px; background: #ffffff; font-family: 'lato', -apple-system, blinkmacsystemfont, "segoe ui", helvetica, arial, sans-serif; color: #1a1a1a; line-height: 1.6; box-sizing: border-box; overflow: hidden; -webkit-font-smoothing: antialiased; } .media-container { width: 100%; height: 55vh; min-height: 350px; max-height: 600px; background: #f4f4f4; border-bottom: 1px solid #e0e0e0; } .media-iframe { width: 100%; height: 100%; border: none; display: block; } .info-wrapper { display: grid; grid-template-columns: 260px 1fr; gap: 30px; padding: 30px; background-color: #fff; } .specs-column { font-size: 0.95rem; border-right: 1px solid #eee; padding-right: 20px; color: #222; } .specs-title { font-family: 'playfair display', serif; font-size: 1.1rem; text-transform: uppercase; color: #c9b37e; margin-bottom: 20px; border-bottom: 2px solid #c9b37e; padding-bottom: 8px; display: inline-block; font-weight: 600; } .spec-item { margin-bottom: 16px; } .spec-label { display: block; font-weight: 700; font-size: 0.75rem; text-transform: uppercase; color: #666; margin-bottom: 3px; } .spec-value { font-size: 1rem; color: #111; } .text-column { font-size: 1.05rem; color: #222; } .text-scroll-area { max-height: 500px; overflow-y: auto; padding-right: 15px; } .text-scroll-area::-webkit-scrollbar { width: 6px; } .text-scroll-area::-webkit-scrollbar-thumb { background: #ccc; border-radius: 3px; } .text-column p { margin-bottom: 1.2em; text-align: left; } .text-column h3 { font-family: 'playfair display', serif; font-size: 1.3rem; margin: 25px 0 15px 0; color: #1a1a1a; } .museum-box { font-size: 0.95em; border-left: 3px solid #c9b37e; padding: 15px 20px; margin: 25px 0; background: #faf9f5; } .visitor-note { font-style: italic; background: #f4f4f4; border-left: 3px solid #666; padding: 15px; font-size: 0.95em; margin-top: 30px; } @media (max-width: 768px) { .info-wrapper { display: flex; flex-direction: column; padding: 20px; } .specs-column { order: 1; border-right: none; border-bottom: 1px solid #eee; padding-bottom: 20px; display: grid; grid-template-columns: 1fr 1fr; gap: 15px; } .specs-title { grid-column: span 2; } .text-column { order: 2; } .media-container { height: 40vh; } .text-scroll-area { max-height: none; overflow-y: visible; padding-right: 0; } } technical data sheet author camillo procaccini dating c. 1603 technique: oil on canvas location of the sanctuary of our lady of sorrows, rho the painting depicts an intimate moment of the holy family: mary , wrapped in voluminous robes in the symbolic colours of tradition, holds baby jesus in her arms, while saint joseph tenderly offers him a fruit. between mannerism and baroque painted around 1603, the altarpiece is a significant example of the mannerist-baroque style that was beginning to spread through northern italy. this stylistic shift was favored by major ecclesiastical patrons, particularly the milanese curia, which regarded procaccini as one of its most refined interpreters. visual language: the work is distinguished by the softness of its forms and the complex articulation of its drapery, elements that foreshadow the theatricality of the subsequent baroque period. for the visitor: observe the gesture of saint joseph: the naturalness with which he offers the fruit to the child transforms a biblical episode into a domestic scene full of warmth and humanity. “Rest on the Flight into Egypt” - Camillo Procaccini (~1603) - Oil on canvas heraldic coat of arms of the simonetta family Heraldic Coat of Arms of the Simonetta Family heraldic coat of arms of the simonetta family Heraldic Coat of Arms of the Simonetta Family refugium peccatorum consolatrix afflictorum REFUGIUM PECCATORUM CONSOLATRIX AFFLICTORUM the cross The Cross virgin and child - artist and era unknown - oil on canvas @import url('https://fonts.googleapis.com/css2?family=playfair+display:ital,wght@0,400;0,600;1,400&family=lato:wght@400;700&display=swap'); .museum-card { width: 100%; max-width: 900px; background: #ffffff; font-family: 'lato', -apple-system, blinkmacsystemfont, "segoe ui", helvetica, arial, sans-serif; color: #1a1a1a; line-height: 1.6; box-sizing: border-box; overflow: hidden; -webkit-font-smoothing: antialiased; } .media-container { width: 100%; height: 55vh; min-height: 350px; max-height: 600px; background: #f4f4f4; border-bottom: 1px solid #e0e0e0; } .media-iframe { width: 100%; height: 100%; border: none; display: block; } .info-wrapper { display: grid; grid-template-columns: 260px 1fr; gap: 30px; padding: 30px; background-color: #fff; } .specs-column { font-size: 0.95rem; border-right: 1px solid #eee; padding-right: 20px; color: #222; } .specs-title { font-family: 'playfair display', serif; font-size: 1.1rem; text-transform: uppercase; color: #c9b37e; margin-bottom: 20px; border-bottom: 2px solid #c9b37e; padding-bottom: 8px; display: inline-block; font-weight: 600; } .spec-item { margin-bottom: 16px; } .spec-label { display: block; font-weight: 700; font-size: 0.75rem; text-transform: uppercase; color: #666; margin-bottom: 3px; } .spec-value { font-size: 1rem; color: #111; } .text-column { font-size: 1.05rem; color: #222; } .text-scroll-area { max-height: 500px; overflow-y: auto; padding-right: 15px; } .text-scroll-area::-webkit-scrollbar { width: 6px; } .text-scroll-area::-webkit-scrollbar-thumb { background: #ccc; border-radius: 3px; } .text-column p { margin-bottom: 1.2em; text-align: left; } .text-column h3 { font-family: 'playfair display', serif; font-size: 1.3rem; margin: 25px 0 15px 0; color: #1a1a1a; } .museum-box { font-size: 0.95em; border-left: 3px solid #c9b37e; padding: 15px 20px; margin: 25px 0; background: #faf9f5; } .visitor-note { font-style: italic; background: #f4f4f4; border-left: 3px solid #666; padding: 15px; font-size: 0.95em; margin-top: 30px; } @media (max-width: 768px) { .info-wrapper { display: flex; flex-direction: column; padding: 20px; } .specs-column { order: 1; border-right: none; border-bottom: 1px solid #eee; padding-bottom: 20px; display: grid; grid-template-columns: 1fr 1fr; gap: 15px; } .specs-title { grid-column: span 2; } .text-column { order: 2; } .media-container { height: 40vh; } .text-scroll-area { max-height: none; overflow-y: visible; padding-right: 0; } } technical data sheet author artist unknown unknown era technique: oil on canvas location: sanctuary of our lady of sorrows, rho the canvas depicts the virgin and child , captured in an intimate and maternal gesture that highlights mary's humanity and the tenderness of her relationship with jesus. from the shadows emerges a host of angels, almost as if to reveal the unveiling of the mystery of the incarnation. symbolism and devotion the chosen colors guide the spiritual reading of the work: the red of the robe is a sign of love and sacrifice, while the green of the cloak represents hope and life. the scene is suspended between the stylistic elements of the late renaissance and the first hints of the baroque. spiritual message: the work invites the faithful to meditate on the divine motherhood and the love of mary, who welcomes and offers her son for the salvation of humanity. detail to observe: notice how the light emerges from the darkness of the background, focusing on the faces of the protagonists to emphasize the human and divine bond between the mother and the son. Virgin and Child - Artist and era unknown - Oil on canvas saint george and the dragon - oil on canvas by giovanni ambrogio figino (1586) @import url('https://fonts.googleapis.com/css2?family=playfair+display:ital,wght@0,400;0,600;1,400&family=lato:wght@400;700&display=swap'); .museum-card { width: 100%; max-width: 900px; background: #ffffff; font-family: 'lato', -apple-system, blinkmacsystemfont, "segoe ui", helvetica, arial, sans-serif; color: #1a1a1a; line-height: 1.6; box-sizing: border-box; overflow: hidden; -webkit-font-smoothing: antialiased; } .media-container { width: 100%; height: 55vh; min-height: 350px; max-height: 600px; background: #f4f4f4; border-bottom: 1px solid #e0e0e0; } .media-iframe { width: 100%; height: 100%; border: none; display: block; } .info-wrapper { display: grid; grid-template-columns: 260px 1fr; gap: 30px; padding: 30px; background-color: #fff; } .specs-column { font-size: 0.95rem; border-right: 1px solid #eee; padding-right: 20px; color: #222; } .specs-title { font-family: 'playfair display', serif; font-size: 1.1rem; text-transform: uppercase; color: #c9b37e; margin-bottom: 20px; border-bottom: 2px solid #c9b37e; padding-bottom: 8px; display: inline-block; font-weight: 600; } .spec-item { margin-bottom: 16px; } .spec-label { display: block; font-weight: 700; font-size: 0.75rem; text-transform: uppercase; color: #666; margin-bottom: 3px; } .spec-value { font-size: 1rem; color: #111; } .text-column { font-size: 1.05rem; color: #222; } .text-scroll-area { max-height: 500px; overflow-y: auto; padding-right: 15px; } .text-scroll-area::-webkit-scrollbar { width: 6px; } .text-scroll-area::-webkit-scrollbar-thumb { background: #ccc; border-radius: 3px; } .text-column p { margin-bottom: 1.2em; text-align: left; } .text-column h3 { font-family: 'playfair display', serif; font-size: 1.3rem; margin: 25px 0 15px 0; color: #1a1a1a; } .museum-box { font-size: 0.95em; border-left: 3px solid #c9b37e; padding: 15px 20px; margin: 25px 0; background: #faf9f5; } .visitor-note { font-style: italic; background: #f4f4f4; border-left: 3px solid #666; padding: 15px; font-size: 0.95em; margin-top: 30px; } @media (max-width: 768px) { .info-wrapper { display: flex; flex-direction: column; padding: 20px; } .specs-column { order: 1; border-right: none; border-bottom: 1px solid #eee; padding-bottom: 20px; display: grid; grid-template-columns: 1fr 1fr; gap: 15px; } .specs-title { grid-column: span 2; } .text-column { order: 2; } .media-container { height: 40vh; } .text-scroll-area { max-height: none; overflow-y: visible; padding-right: 0; } } technical data sheet author giovanni ambrogio figino dating 1586 (exhibited 1606) technique: oil on canvas location: sanctuary of our lady of sorrows, rho this altarpiece depicting saint george and the dragon is a significant work by giovanni ambrogio figino (1548 - 1608), executed in 1586. the canvas reflects the peculiar characteristics of the milanese artist's mature phase. style and mannerism the work is characterized by the use of cool colors and a two-dimensional flattening of the subjects. these elements are typical of an artificial and deliberately anti-naturalistic mannerism , which prioritizes formal elegance and compositional complexity over a realistic rendering of space. historical context: although built at the end of 1586, the work was officially exhibited on its altar in 1606, becoming a point of reference for devotion in the sanctuary. note: note the sculptural pose of saint george and the almost metallic rendering of the dragon, characteristics that highlight figino's technical mastery in interpreting the canons of late sixteenth-century lombardy. Saint George and the Dragon - Oil on canvas by Giovanni Ambrogio Figino (1586) the allegory of the church of great historical and artistic value is the imposing plaster group depicting religion (commissioned with the title the good mother of good friday and also known as pietà), a model by the sculptor pompeo marchesi (1789-1858) for the marble work inaugurated in 1852 and now lost, commissioned by the emperor of austria francis i for the milanese church of san carlo al corso; the monument (together with that by the same author in the left arm), arrived at the sanctuary at the beginning of 1868 through the mediation of the parish priest of valmadrera, don pietro perini, to whom the sculptor's heirs wanted to donate them, and of the oblate angelo taglioretti (1811-1899): rejected for reasons of space, they arrived in rho directly from marchesi's milanese studio and were restored by pompeo cocchi with the advice of pietro fumeo, a former pupil of the late sculptor. The allegory of the Church chapel of the immaculate conception it was renovated between 1856 and 1857, commissioned by the oblate taglioretti, under the direction of architect gaetano besia. he retained the existing altar, built in 1804 to a design by leopold pollack, with stucco angels by giovanni battista vaccani, enriching it with ornamentation and decorating it with new imitation marble. during these renovations, the altarpiece was replaced with the current niche containing the statue of the immaculate conception in gilded and enameled copper, created in 1857 based on a model by sculptor innocenzo ubicini and serafino zucchi. in 1934, the lower part of the altar and its corresponding table were refinished in marble. the right wall is occupied by the large fresco by giuseppe sogni (1795 1874) depicting pius ix proclaiming the dogma of the immaculate conception , while on the left is the work by raffaele casnedi (1822 1892) with the curse of the serpent . in the centre of the vault is the coronation of the virgin , a fresco by morgari executed as part of his late nineteenth-century interventions. at the foot of the staircase an illegible marble plaque appears to be the only pre-existing element to the nineteenth-century reforms, together with the balustrades. Chapel of the Immaculate Conception chapel of sant'ambrogio the altar was designed by the architect leopold pollack and built in 1802, at the same time as those of san giovanni and the immaculate conception; the stucco work in fake marble was completed in 1806, placing the sculpture by grazioso rusca, the angel with his sign on the cymatium. the altarpiece, depicting sant'ambrogio , is a copy of the original by carlo francesco nuvolone, today in the diocesan museum of milan, attributed to the painter roberto galperti da verolanuova (1862 1905), which replaced a saint ambrose on horseback at the battle of parabiago by figino, owned by the municipality of milan, which was stored in the chapel from 1804 to 1897. the neoclassical tabernacle in carved and gilded wood was made in 1832 for the chapel of san giorgio based on a design by the architect gian luca della somaglia. on the side walls are two canvases by luigi morgari from 1894 depicting saint monica prays to saint ambrose for her son augustine and the baptism of saint augustine , beneath which can be seen a pair of richly carved wall consoles. the chapel is closed by a 17th-century iron gate, transported here from the chapel of san giuseppe in 1933. Chapel of Sant'Ambrogio chapel of st. john the altar was built in the first decade of the 19th century based on a design by leopold pollack. in neoclassical style, it features rich ornamentation with gilding, stucco, and imitation marble of great decorative and refined pomp. the cymatium features two angels holding a plate with the head of saint john within a gilded halo. the 17th-century altarpiece depicting the sermon of saint john the baptist was purchased in 1777 from the demolished church of santa maria della scala in milan, during an initial renovation of the chapel, and has since been attributed to fiammenghino, indicated, not without doubt, as giovanni mauro della rovere (c. 1575–1640). damaged, it was restored upon its purchase by the painter antonio de giorgi (1729–1793). the late nineteenth-century decorations on the vault feature two refined false reliefs depicting cherubs amidst elaborate motifs, while in the center is a fresco of angels holding the sacrificed lamb, bearing the inscription ecce agnus dei, ecce qui tollit peccatum mundi. on the side walls are two canvases by luigi morgari depicting the baptism of christ and the beheading of st. john the baptist (1894–1895). the chapel is closed by an iron gate dating from 1616, originally from the chapel of san giorgio and relocated here in 1933. Chapel of St. John chapel of st. george built in late 1586 and displayed on the altar in 1606, the altarpiece depicting saint george and the dragon is the work of giovanni ambrogio figino (1548-1608). it displays the distinctive characteristics of his artistic phase, with the use of cool colors and a two-dimensional flattening of the subjects typical of an artificial and anti-naturalistic mannerism. the paintings depict episodes from the life of the saint, recounted in apocryphal accounts, as there is no certain biographical information. in particular, on the front, high up in the transept, are some frescoes by pier francesco mazzucchelli, known as morazzone (1573 - 1626). on the left, saint george miraculously resurrects his dead uncle who attests to having paid a debt ; on the right, saint george is forced to sacrifice in the pagan temple, but the idols fall to pieces at his mere breath . this painting is known for the great dynamism of the figures and the three-dimensional effect which, with the artifice of the leg in the foreground that seems to emerge from the scene, engages the viewer with an already baroque force. in 1933, the wrought iron gates were replaced with the current marble balustrades. Chapel of St. George the fresco of our lady of sorrows - deepzoom @import url('https://fonts.googleapis.com/css2?family=playfair+display:ital,wght@0,400;0,600;1,400&family=lato:wght@400;700&display=swap'); .museum-card { width: 100%; max-width: 900px; background: #ffffff; font-family: 'lato', -apple-system, blinkmacsystemfont, "segoe ui", helvetica, arial, sans-serif; color: #1a1a1a; line-height: 1.6; box-sizing: border-box; overflow: hidden; -webkit-font-smoothing: antialiased; } .media-container { width: 100%; height: 55vh; min-height: 350px; max-height: 600px; background: #f4f4f4; border-bottom: 1px solid #e0e0e0; } .media-iframe { width: 100%; height: 100%; border: none; display: block; } .info-wrapper { display: grid; grid-template-columns: 260px 1fr; gap: 30px; padding: 30px; background-color: #fff; } .specs-column { font-size: 0.95rem; border-right: 1px solid #eee; padding-right: 20px; color: #222; } .specs-title { font-family: 'playfair display', serif; font-size: 1.1rem; text-transform: uppercase; color: #c9b37e; margin-bottom: 20px; border-bottom: 2px solid #c9b37e; padding-bottom: 8px; display: inline-block; font-weight: 600; } .spec-item { margin-bottom: 16px; } .spec-label { display: block; font-weight: 700; font-size: 0.75rem; text-transform: uppercase; color: #666; margin-bottom: 3px; } .spec-value { font-size: 1rem; color: #111; } .text-column { font-size: 1.05rem; color: #222; } .text-scroll-area { max-height: 500px; overflow-y: auto; padding-right: 15px; } .text-scroll-area::-webkit-scrollbar { width: 6px; } .text-scroll-area::-webkit-scrollbar-thumb { background: #ccc; border-radius: 3px; } .text-column p { margin-bottom: 1.2em; text-align: left; } .text-column h3 { font-family: 'playfair display', serif; font-size: 1.3rem; margin: 25px 0 15px 0; color: #1a1a1a; } .museum-box { font-size: 0.95em; border-left: 3px solid #c9b37e; padding: 15px 20px; margin: 25px 0; background: #faf9f5; } .visitor-note { font-style: italic; background: #f4f4f4; border-left: 3px solid #666; padding: 15px; font-size: 0.95em; margin-top: 30px; } @media (max-width: 768px) { .info-wrapper { display: flex; flex-direction: column; padding: 20px; } .specs-column { order: 1; border-right: none; border-bottom: 1px solid #eee; padding-bottom: 20px; display: grid; grid-template-columns: 1fr 1fr; gap: 15px; } .specs-title { grid-column: span 2; } .text-column { order: 2; } .media-container { height: 40vh; } .text-scroll-area { max-height: none; overflow-y: visible; padding-right: 0; } } technical data sheet subject the pietà (our lady of sorrows) unknown author dating: early 16th century fresco technique location of the sanctuary of our lady of sorrows, rho the miraculous fresco housed in the sanctuary depicts the pietà , with mary holding the body of the dead christ in her arms. the work belongs to the sacred tradition of the early sixteenth century and represents the spiritual heart of the sanctuary. the miracle of faith the virgin's face was the protagonist of the miracle of 1583 , giving the image an extraordinary symbolic power. it serves as a bridge between human suffering and divine compassion, inviting the faithful to a profound emotional involvement. the pietà del gesiolo: every detail, from mary's posture to the delicacy of her facial features, communicates a message of consolation and mercy, making it a masterpiece of popular spirituality. reflection point: observe the centrality of the fresco in the architectural context of the sanctuary, designed to enhance the connection between marian devotion and the experience of christ's passion. The fresco of Our Lady of Sorrows - DeepZoom the nativity scene of the sanctuary of rho the sanctuary of the blessed virgin of sorrows in rho (mi) houses one of the most fascinating painted silhouette nativity scenes of the 19th century, created by giuseppe carsana (bergamo, 1822-1889). in lombardy, especially starting in the 18th century, a lively and original tradition of two-dimensional paper nativity scenes (so-called silhouette nativity scenes ) spread. initially commissioned and painted by artists, they were later also reproduced in print, becoming accessible to the lower classes. the nativity scene in the rho sanctuary, a direct heir to this important tradition, was painted by giuseppe carsana , a painter trained at the carrara academy in bergamo and the author of numerous works inside the basilica, including the six large frescoes of the sorrows of mary in the transepts and on the counterfaçade . the work is traditionally dated to the second half of the 19th century, coinciding with the period in which carsana created the frescoes, signed and dated 1868. the overall scenographic effect is extraordinary, resembling a stage animated by painted actors. the large canvases, mounted using a theatrical system of pulleys and ropes in the side chapel of sant'anna—the traditional location for the installation—recreate the interior of a cave, which opens onto a vast landscape with oriental influences. above the hut, a host of musician angels sing the gloria in excelsis deo , accompanied by a group of cherubs fluttering within the cave. the shepherds and the holy family are arranged on a sloped, moss-covered wooden platform, divided into groups that accentuate the depth of perspective and create a sober and elegant ensemble, characterized by soft, harmonious colors. the life-size figures are painted in tempera on paper with quick, confident brushstrokes. they were likely later applied to cut plywood templates, reinforced on the back with wooden strips and supported by a hanger fixed to the floorboards. the sets, on the other hand, consist of a framework of wooden strips and beams, onto which the painted canvases—likely tempera on a light, pale primer—are nailed, reaching a maximum length of about six meters. a particularly interesting aspect is the dual arrangement: the christmas one, with a smaller baby jesus and the shepherds, and the epiphany one, in which the shepherds give way to sumptuous three kings with servants, while the baby jesus appears slightly larger. the silhouettes alone underwent a conservative restoration in 1993 . The Nativity Scene of the Sanctuary of Rho new! interactive guide to the work New! Interactive guide to the work
Historical Insights
the chapel of st. joseph in the right arm of the transept is one of the oldest chapels in the sanctuary. the altarpiece represents “ the rest from the flight into egypt ”, a work by one of the most influential painters of 17th-century lombard art: camillo procaccini. the scene depicts mary, dressed in voluminous clothes with the symbolic colours of tradition, holding baby jesus in her arms, to whom saint joseph is offering a fruit. made around 1603, the altarpiece shows the mannerist-baroque taste that was slowly spreading in northern italy, thanks also to the presence of major ecclesiastical patrons, such as the milanese curia. by the same author and of particular note for the vivid beauty of the colours is the lunette above the altar, representing angels in glory . it is also important to note the presence of two large coats of arms that dominate the upper sides of the chapel. the emblem, quartered with golden lions and a cross , is linked to the rhodian branch of the simonetta family. for centuries, the family was one of the most important of the italian nobility. one of its most famous members was cicco simonetta, a diplomat during the duchy of francesco sforza and regent of the kingdom after the assassination of galeazzo maria sforza. the presence of this family in rho is also underlined by the scheibler-simonetta villa, a few dozen meters from the sanctuary. The Chapel of St. Joseph the seven sorrows of the virgin walking through the sanctuary it is not difficult to spot the “ seven sorrows of the virgin ” on the counter-façade and in the arms of the transept: frescoes depicting episodes in which mary suffered or received particularly painful news. these episodes were chosen because they are characteristic of the " sequela dell'addolorata ," to which the sanctuary in rho is dedicated. they were created in the second half of the 19th century by giuseppe carsana , a painter of the bergamo school. the preparatory sketches are still preserved today in the oblate college. on the counter-façade there are the episodes of the “ flight into egypt ”, when mary had to flee with jesus and joseph from king herod, and the “ prophecy of simeon ”, who had prophesied mary's future sufferings. in the right arm of the transept , looking at the altar, there is the episode of the “ meeting of mary with christ on the way to golgotha ” and “ jesus among the doctors ”. in the opposite arm , “ the crucifixion of christ ” and “ the deposition from the cross ”. looking carefully, the scenes represented are six and not seven: this choice by the client is due to the fact that the seventh sorrow, “ the burial ”, would have been in place of the miraculous fresco or covered by it, in the choir. The Seven Sorrows of the Virgin the fresco the fresco depicts one of the most recurring themes in christian sacred art: the pietà. christ, taken down from the cross, lies in the arms of the virgin, who contemplates her son's body with tears. the work was part of a gesiolo, a small country oratory, dating back to 1522. this must have faced the road leading to lainate, along one of the ancient stretches of the simplon pass, now corso europa. following the "miracle of the tears of blood," which occurred on april 24, 1583, construction of the sanctuary began, gradually incorporating the small chapel. by 1589, five years after the cornerstone was laid by charles borromeo, the sanctuary's apse was nearly completed, and it was possible to move the fresco to the upper altar, allowing it to be venerated by the ever-increasing number of pilgrims. to expedite the completion of the project, saint charles's successor, gaspare visconti, assisted by bishop federico borromeo, decided to remove the fresco using the "stacco a massello" technique. this process requires much less time than the "strappo" technique but is much more invasive. indeed, observing the fresco, one can see figures on the sides, only partially visible. these were figures participating in christ's lamentation, but they have been lost because, with the "stacco a massello" technique, only the affected portion of the wall is removed. restoration work in the 1990s revealed that the background, covered in black in the 17th century, recreates the countryside surrounding gesiolo at the time of the miracle. today, although it requires further restoration, the "miraculous fresco" attracts thousands of pilgrims who come every year to admire, and especially to venerate, this work of the italian renaissance. The fresco the chapel of st. george the left portion of the transept houses, at its end, the chapel of san giorgio, the second oldest. the decoration of the altar was entrusted, around 1614, to pier francesco mazzucchelli, known as morazzone, a lombard painter of the counter-reformation period. he created the cycle of frescoes depicting the hagiography of saint george, with a distinctive baroque style, influenced by his training in rome. of particular note is the presence of a trompe-l'oeil on the left side of the chapel: in the scene depicting the episode "saint george forced to pray to the pagan gods," a soldier, frightened by the earthquake caused by the saint, appears to be falling from the fresco frame. at the centre of the chapel there is an altarpiece depicting “saint george and the dragon” by ambrogio figino, a mannerist painter of the lombard scene. The Chapel of St. George altar, lectern and seat following the modernization of the altar after the second vatican council, the decoration was entrusted to the internationally renowned italian artist floriano bodini . the altar, lectern supported by an angel, and the celebrant's chair were made of candoglia marble in 1998. this material, for the exclusive use of the veneranda fabbrica del duomo di milano, underlines the close link between the “ mother church ” of the archdiocese and the sanctuaries connected to it. Altar, Lectern and Seat the central nave the church , with a latin cross plan and a single nave, features an imposing central vault divided into four pendentives . these were painted in the 1890s by luigi morgari, a piedmontese painter whose works can be found throughout northern italy. the four plumes represent respectively: the laying of the foundation stone : present in the right vault, the fresco shows saint charles borromeo, surrounded by the faithful, nobles, servants and religious figures, while blessing the foundation stone of the sanctuary. the council of nicaea : the veil facing the altar depicts one of the most important events in early christianity: the council of nicaea. convened by order of emperor constantine in 325, the council openly condemned arianism and helped heal various divisions within the christian church and, consequently, within society. the miracle of the madonna of the snow : the church containing the miraculous fresco was dedicated to the "madonna of the snow." for this reason, the left-hand vault recounts the miracle of the same name, which occurred in august 352, when it snowed on the esquiline hill and the snow formed the shape of a church. it became one of the most important and ancient marian shrines in the world: the basilica of santa maria maggiore. pentecost : the vault facing the counterfaçade depicts one of the most significant moments in the christian religion: pentecost. fifty days after easter, the holy spirit descended upon mary and the disciples gathered around her. this episode is particularly significant for the christian church because it marks the moment when it opens itself to the entire world. The central nave the gesiolo nothing remains of the ancient 16th-century gesiolo, where the miraculous fresco was preserved. it can be accessed through a special entrance behind the sanctuary. the entire chapel was incorporated into the church over the decades, until it was completely absorbed by the high altar and today is located under the high altar. it is difficult to imagine what it must have been like once upon a time, given that the place has taken the shape of a tunnel, decorated with frescoes and mosaics and, at the end, a copy of the miraculous fresco has been placed, with a pre-restoration black background. inside the gesiolo are buried several oblate fathers, as well as two women of great importance to the history of the sanctuary: maria salvagina doria and maria lelia talenti. mother and daughter, both of noble lineage, who, between the late eighteenth century and the early nineteenth century, allowed the sanctuary's construction to continue, despite the napoleonic suppressions. The Gesiolo chapel of san carlo dedicated to the founder of the sanctuary, it was decorated by the milanese painter andrea lanzani (1630-1712), who executed the frescoes and altarpiece in 1684. the imposing altar, in varenna marble, is flanked by two tall corinthian columns supporting a classical tympanum bearing the motto of saint charles 'humilitas' at its center. the altarpiece features the famous painting saint charles communicating the plague victims. the canvas stylistically recalls 17th-century roman painting and depicts the saint giving communion to an elderly plague victim, already celebrated by his contemporaries for its realism, in the center. in the foreground, a child clings to his mother's corpse, and a cleric behind the saint holds his nose with a handkerchief. the dramatic theme of death contrasts with the serenity of the archbishop, pointed to by the beautiful angel piercing the clouds to reveal a beam of light that illuminates his face. on the vault, the fresco depicts the triumph of the church, identified as a female figure wearing the papal tiara, the papal tiara, and the keys of peter, who is being offered the sacrificed lamb. here, the artist, through a fusion of painting, sculpture, and architecture, creates one of the most successful baroque works in the lombardy region. also on the vault are two frescoes: the birth of adam and eve and the expulsion of the first parents from the garden of eden. on the sides of the altar, within false niches, saint ambrose and saint barnabas are surmounted by their respective monochrome scenes depicting the episodes of the baptism of saint augustine and the baptism and conversion of the pagans. on the sides, above the windows, two panels with latin inscriptions held by stucco cherubs recall the foundation of the sanctuary, while below the windows, two frescoes depict the birth of saint charles and the meditation of saint charles on the tomb of christ. the balustrade and the marble altar table are modern, made in 1933 on the occasion of the removal of the ancient balustrade surmounted by an iron gate. Chapel of San Carlo introduction to gesiolo a small oratory built in 1522 and dedicated to our lady of the snows as a sign of thanksgiving for a grace received from an aristocrat of the time. a fresco depicting a pietà, whose artist is now unknown, was placed on the small altar. on april 24, 1583, the image of the madonna was seen weeping tears of blood by two rhodians, girolamo ferri and alessandro ghioldi. a relic of the miraculous event, the cloth used to dry the tears, is preserved in a precious reliquary. the news moved the entire diocese of milan and, after a detailed investigation conducted by a commission specifically appointed for the purpose of verifying the facts, the future san carlo borromeo ordered the architect pellegrino tibaldi (1527-1596) to design a sanctuary for the marian cult in order to commemorate the miracle. the interior of the chapel, decorated with mosaics and marbles from 1938-39 by the f. bernasconi company of como, houses on the altar a copy of the miraculous fresco according to the iconography prior to the 1993 restoration. at the foot of the altar are the tombstones of the two talenti marquises of fiorenza with the others of luigia castelli, livia garavaglia stampa soncino (died in 1803) and their contemporary oblates. Introduction to Gesiolo chapel of the sacred heart originally dedicated to the virgin annunciate, in 1932 it was named after the sacred heart and the original altarpiece with the annunciation of the virgin , painted taking inspiration from the fresco in the sanctuary of the annunciation in florence was moved to the regional seminary of salerno, where it remains today. on that occasion, to a design by engineer banfi, the marble and bronze altar was rebuilt according to the original design. the 17th-century gilded stucco work on the cornice, featuring angels holding the bas-relief of the rest on the flight into egypt , was retained, and the current altarpiece of the sacred heart , the work of the franciscan missionaries of rome, was executed. the canvas introduced a theme dear to the oblates of rho, since the founder, father martinelli, was among the first to spread devotion to the sacred heart, of french origin, in our country. a stone plaque on the floor commemorates the change of title with its latin inscriptions. inside the chapel is the tomb of father giorgio maria martinelli, moved here in 1984 from its previous location under the pulpit on the left. the marble balustrades are modern and replaced the old iron gates, presumably during the twentieth-century renovations. Chapel of the Sacred Heart chapel of the immaculate conception it was renovated between 1856 and 1857, commissioned by the oblate taglioretti, under the direction of architect gaetano besia. he retained the existing altar, built in 1804 to a design by leopold pollack, with stucco angels by giovanni battista vaccani, enriching it with ornamentation and decorating it with new imitation marble. during these renovations, the altarpiece was replaced with the current niche containing the statue of the immaculate conception in gilded and enameled copper, created in 1857 based on a model by sculptor innocenzo ubicini and serafino zucchi. in 1934, the lower part of the altar and its corresponding table were refinished in marble. the right wall is occupied by the large fresco by giuseppe sogni (1795 1874) depicting pius ix proclaiming the dogma of the immaculate conception , while on the left is the work by raffaele casnedi (1822 1892) with the curse of the serpent . in the centre of the vault is the coronation of the virgin , a fresco by morgari executed as part of his late nineteenth-century interventions. at the foot of the staircase an illegible marble plaque appears to be the only pre-existing element to the nineteenth-century reforms, together with the balustrades. Chapel of the Immaculate Conception chapel of sant'ambrogio the altar was designed by the architect leopold pollack and built in 1802, at the same time as those of san giovanni and the immaculate conception; the stucco work in fake marble was completed in 1806, placing the sculpture by grazioso rusca, the angel with his sign on the cymatium. the altarpiece, depicting sant'ambrogio , is a copy of the original by carlo francesco nuvolone, today in the diocesan museum of milan, attributed to the painter roberto galperti da verolanuova (1862 1905), which replaced a saint ambrose on horseback at the battle of parabiago by figino, owned by the municipality of milan, which was stored in the chapel from 1804 to 1897. the neoclassical tabernacle in carved and gilded wood was made in 1832 for the chapel of san giorgio based on a design by the architect gian luca della somaglia. on the side walls are two canvases by luigi morgari from 1894 depicting saint monica prays to saint ambrose for her son augustine and the baptism of saint augustine , beneath which can be seen a pair of richly carved wall consoles. the chapel is closed by a 17th-century iron gate, transported here from the chapel of san giuseppe in 1933. Chapel of Sant'Ambrogio chapel of st. john the altar was built in the first decade of the 19th century based on a design by leopold pollack. in neoclassical style, it features rich ornamentation with gilding, stucco, and imitation marble of great decorative and refined pomp. the cymatium features two angels holding a plate with the head of saint john within a gilded halo. the 17th-century altarpiece depicting the sermon of saint john the baptist was purchased in 1777 from the demolished church of santa maria della scala in milan, during an initial renovation of the chapel, and has since been attributed to fiammenghino, indicated, not without doubt, as giovanni mauro della rovere (c. 1575–1640). damaged, it was restored upon its purchase by the painter antonio de giorgi (1729–1793). the late nineteenth-century decorations on the vault feature two refined false reliefs depicting cherubs amidst elaborate motifs, while in the center is a fresco of angels holding the sacrificed lamb, bearing the inscription ecce agnus dei, ecce qui tollit peccatum mundi. on the side walls are two canvases by luigi morgari depicting the baptism of christ and the beheading of st. john the baptist (1894–1895). the chapel is closed by an iron gate dating from 1616, originally from the chapel of san giorgio and relocated here in 1933. Chapel of St. John chapel of st. george built in late 1586 and displayed on the altar in 1606, the altarpiece depicting saint george and the dragon is the work of giovanni ambrogio figino (1548-1608). it displays the distinctive characteristics of his artistic phase, with the use of cool colors and a two-dimensional flattening of the subjects typical of an artificial and anti-naturalistic mannerism. the paintings depict episodes from the life of the saint, recounted in apocryphal accounts, as there is no certain biographical information. in particular, on the front, high up in the transept, are some frescoes by pier francesco mazzucchelli, known as morazzone (1573 - 1626). on the left, saint george miraculously resurrects his dead uncle who attests to having paid a debt ; on the right, saint george is forced to sacrifice in the pagan temple, but the idols fall to pieces at his mere breath . this painting is known for the great dynamism of the figures and the three-dimensional effect which, with the artifice of the leg in the foreground that seems to emerge from the scene, engages the viewer with an already baroque force. in 1933, the wrought iron gates were replaced with the current marble balustrades. Chapel of St. George the missionary oblate fathers the missionary oblate fathers are diocesan priests who, at a certain point in their ministry, freely chose to live in community and dedicate their lives to preaching the word. study and prayer are central elements in the life of the missionary oblate fathers of rho. both are essential for the pursuit of a robust, solid form of preaching, with reference to the sacred scriptures and the magisterium of the church. the connection with the sanctuary of rho has a profound meaning . here, the oblate fathers have no parish. this allows them to dedicate themselves completely to the itinerant ministry of preaching and the ministry of reconciliation, ensuring their presence in the confessional at all hours of the day. The Missionary Oblate Fathers the nativity scene of the sanctuary of rho the sanctuary of the blessed virgin of sorrows in rho (mi) houses one of the most fascinating painted silhouette nativity scenes of the 19th century, created by giuseppe carsana (bergamo, 1822-1889). in lombardy, especially starting in the 18th century, a lively and original tradition of two-dimensional paper nativity scenes (so-called silhouette nativity scenes ) spread. initially commissioned and painted by artists, they were later also reproduced in print, becoming accessible to the lower classes. the nativity scene in the rho sanctuary, a direct heir to this important tradition, was painted by giuseppe carsana , a painter trained at the carrara academy in bergamo and the author of numerous works inside the basilica, including the six large frescoes of the sorrows of mary in the transepts and on the counterfaçade . the work is traditionally dated to the second half of the 19th century, coinciding with the period in which carsana created the frescoes, signed and dated 1868. the overall scenographic effect is extraordinary, resembling a stage animated by painted actors. the large canvases, mounted using a theatrical system of pulleys and ropes in the side chapel of sant'anna—the traditional location for the installation—recreate the interior of a cave, which opens onto a vast landscape with oriental influences. above the hut, a host of musician angels sing the gloria in excelsis deo , accompanied by a group of cherubs fluttering within the cave. the shepherds and the holy family are arranged on a sloped, moss-covered wooden platform, divided into groups that accentuate the depth of perspective and create a sober and elegant ensemble, characterized by soft, harmonious colors. the life-size figures are painted in tempera on paper with quick, confident brushstrokes. they were likely later applied to cut plywood templates, reinforced on the back with wooden strips and supported by a hanger fixed to the floorboards. the sets, on the other hand, consist of a framework of wooden strips and beams, onto which the painted canvases—likely tempera on a light, pale primer—are nailed, reaching a maximum length of about six meters. a particularly interesting aspect is the dual arrangement: the christmas one, with a smaller baby jesus and the shepherds, and the epiphany one, in which the shepherds give way to sumptuous three kings with servants, while the baby jesus appears slightly larger. the silhouettes alone underwent a conservative restoration in 1993 . The Nativity Scene of the Sanctuary of Rho new tag the cross was an initiative of the founder of catholic action giovanni acquaderni (1839-1922) who wanted it created on the occasion of the nineteenth centenary of the birth of jesus christ and to celebrate the papal jubilee (25 years of papacy) of pope leo xiii. the faithful of our sanctuary are certainly well aware of the two bronze medallions with the cross and the latin inscription placed on the inside of the entrance door; few, however, know their history. this is the so-called "cross of indulgences," placed in the sanctuary of rho, as well as in hundreds of other churches throughout italy, during the reign of pope leo xiii in the early 1900s. it was the founder of catholic action, giovanni acquaderni, who commissioned it, with the pope's consent, to commemorate the 19th centenary of the birth of jesus christ and to commemorate the recently concluded jubilee of 1900. the "cross of homage to christ the redeemer", as it should properly be called, consists of a medallion with a raised latin cross in the centre, an external circular crown and another internal circular crown, divided into four sections by the arms of the cross. on the cross, along the four arms, is written " iesus christus deus homo "; on the innermost circular crown we read " vivit regnat imperat mcmi " and in the outer circle " osculantibus crucem hanc in ecclesia positam et recitantibus pater indulgentia 200 dierum semel in diem ". the entire inscription therefore means "jesus christ, god, man, lives, reigns, rules - 1901. those who kiss this cross placed in the church and recite the our father will be granted 200 days of indulgence only once a day." for this reason it is also known as the "cross of indulgences". also on the occasion of the jubilee of 1900 the symbol of the cross was placed not only inside churches, but also on the tops of mountains. pope leo was in fact the promoter of the construction of 19 monuments, including iron crosses and statues, as many as the centuries that had passed since the birth of jesus, on as many peaks of the alps and apennines. one of the most active figures in this jubilee initiative was blessed pier giorgio frassati, a great mountain enthusiast, who, by a singular historical coincidence, will be canonized on 7 september 2025, precisely during a holy year, by another pope named leo. new Tag new tag the jubilee year of the rho sanctuary it all began around a small chapel, the "gesiolo," built on the simplon pass in 1522, 500 years ago. here, the painting of the madonna wept tears of blood on april 24, 1583. saint charles had a thorough investigation conducted and ultimately recognized the miraculous event, exclaiming, "here is the finger of god!" since then, a large sanctuary has been built right above the "gesiolo," which today celebrates this jubilee year with many events: pope francis has granted plenary indulgence to pilgrims. as we recount in this video and in milano7 avvenire. ➨ direct link to the article: https://www.chiesadimilano.it/ credit to: luca frigerio and www.chiesadimilano.it new Tag new! interactive guide to the work New! Interactive guide to the work
Acknowledgements and Recognitions
  • Special thanks to Monsignor Patrizio Garascia for believing in us and the project and for supporting us with enthusiasm and trust.
  • Special thanks to Luisa Cozzi for her invaluable help in completing this project.
  • Special thanks to Lorenzo Farè for the texts and artistic commentary on the Sanctuary's artwork.
  • Information and information points of the Sanctuary : information taken from the flyers and material provided by the Oblate Fathers and from the websites of: Church of Milan , Visit Rho and Sanctuary of Rho
Info and Contacts
Sanctuary of Our Lady of Sorrows
Corso Europa, 228, 20017 Rho (MI)

Tel: +39 02 932 0801
Email : info@oblatirho.it

Opening hours:
Mon-Sat: 06.30-12, 15-19.30
Sunday: 7am–12pm, 3pm -7.30pm
Corso Europa, 228, 20017 Rho MI
KYREI