Basilica of the Holy Martyrs Nereus and Achilleus

THE TEMPTATIONS

This painting recounts, with the usual richness of colour and form, faithfully preserved throughout the cycle, the three temptations of Jesus, as recounted in the Synoptic Gospels of Mark, Matthew and Luke.
Of the three passages, the richest is the one from Matthew and it is the one to which Iulian referred, always supported by the precious advice of Don Gianluigi, and which represented in a clear and perfectly understandable way the moment following the three temptations rejected by Jesus.
In the Gospel of Matthew we read: Jesus was led by the Spirit into the wilderness to be tempted by the devil. After fasting for forty days and forty nights, he was hungry (Mt 4:1).
And this happened solely in preparation for his messianic mission. And it was a harsh clash with the tempter, the divider, who seeks to demolish God's plan.
Let us remember that the number "forty" recurs frequently in the Bible: the flood lasted forty days, the Exodus lasted forty years, Moses spent forty days on Sinai, David's fight against Goliath and Elijah's journey to God on Mount Horeb lasted forty days. Jonah's preaching in Nineveh lasted forty days. The risen Jesus appeared to his disciples for forty days, and, finally, Lent itself lasts for forty days, as the Latin root of the word itself indicates.
Presentation of the painting:
The execution technique is now well known to the faithful of the basilica but, as always, the painting has particular aesthetic and symbolic characteristics that we try to "read" in order to grasp, once again, the primary purpose of Christian sacred painting and the true meaning of the work: to be a concrete and accessible catechesis.
In the background of the scene, behind Jesus, we see a large, rocky, desert-like mountain with the customary sharp edges typical of Byzantine art. At the center stands the slender figure of Jesus—he has fasted for 40 days—in a hieratic pose of prayer and victory. He wears the customary red robe, which recalls the theme of sacrifice, but he is not wearing the blue cloak found in all the paintings of this cycle featuring the Lord. Here, we see it left on a rock, at the bottom right, ready to be donned to begin, with all his authority, his public life.
His bare feet rest on a sort of rocky pedestal, which slightly elevates him. His outstretched arms immediately recall the cross, and at their extremities are two angels who had approached him to serve him after his long fast (Mark 1:13; Matthew 4:11).
A gray, almost dancing demon moves smoothly around Jesus. The chosen color is highly effective: a diaphanous, almost transparent hue, reminding us that the devil is pure spirit, a fallen angel. The demon appears masked in beauty and wearing a robe decorated with his red trident, which reminds us of the three temptations which, as Cardinal Martini wrote, are an attempt to "divide the unity of God's work, divide man from God, and divide man from others." As Byzantine painting dictates, the demon is always depicted (as is Judas) in sharp profile, and his figure deliberately has a touch of beauty, to remind us that sin contains something seemingly fascinating that sometimes seduces man; if the demon were "ugly," no one would follow him.
The first temptation is recalled by the devil in the center, holding stones and inviting Jesus to turn them into bread. The second temptation in the Gospel of Matthew (which corresponds to the third in the Gospel of Luke) is represented by the devil on the left, pointing to the Temple of Jerusalem, which features an architectural detail reminiscent of the Basilica of Saints Nereus and Achilleus: the external north side of the church with its stained-glass windows and the entrance to its portico.
The third temptation, again in Matthew (which corresponds to the second in Luke), is recalled by the devil, now on the right, who shows Jesus a rich oriental city with architecture symbolic of “all the kingdoms of the world and their glory”: “if you bow down, all these kingdoms will be yours”.
Just to remember that the temptations of Jesus are a question that characterizes our entire life, we think it is important to transcribe a part of Pope Francis's Angelus speech of March 10, 2019, which concerns precisely the three temptations:
“The first, the path of greed for possession. This is always the devil's insidious logic. He starts from the natural and legitimate need to nourish oneself, to live, to fulfill oneself, to be happy, to push us to believe that all this is possible without God, indeed, even against Him. But Jesus opposes this, saying: "It is written: 'Man shall not live by bread alone'" (v. 4) [as it was transcribed at the base of the painting].
The second temptation: to exploit God for one's own benefit. To the devil who, quoting Scripture, invites him to seek a resounding miracle from God, Jesus once again opposes the firm resolve to remain humble, to remain trusting before the Father: "It has been said, 'You shall not put the Lord your God to the test'" (v. 12). And thus he rejects perhaps the most subtle temptation: that of wanting to "draw God to our side," asking him for graces that actually serve and will serve to satisfy our pride.
The third temptation is the path of human glory: the devil says, "If you will fall down and worship me, everything will be yours." One can lose all personal dignity, one can allow oneself to be corrupted by the idols of money, success, and power, just to achieve one's own self-affirmation. And one savors the exhilaration of an empty joy that soon fades. This is why Jesus responds: "You shall worship the Lord your God, and him only shall you serve" (v. 8).
Luciano Bissoli, September 8, 2021

Iconography at the entrance

Above the entrance door, in a poorly executed false mosaic, Pietro Fornari painted the image of Christ, the new Moses, who bestows upon those who receive Baptism the new law (Dominus legem dat) of love for God and their brothers. Christ is depicted in regal robes and with his right hand—which clearly bears the mark of the nail of the crucifixion—raised in blessing. His face is surrounded by a halo (cross-shaped nimbus), while to the right and left are the letters of the Greek alphabet representing Jesus Christ.

ICON OF THE SAMARITAN WOMAN

The season of Lent is characterized by baptismal themes. Baptism, the sacrament of faith, was anciently administered only once a year, during the Easter Vigil. Thus, the 40 days preceding it—hence the term "Lent"—are marked in the liturgy by readings that introduce the understanding of Baptism.
In the large icons of the 6 Sundays of Lent, placed on the right wall of the central nave of the Basilica, this relationship between baptism and faith is visually highlighted.
On the first Sunday, we want to emphasize that those who through faith become disciples of Jesus, like him, are called to overcome the temptations that appear in the world. In fact, the baptismal liturgy repeats "I renounce" evil, Satan, and his works three times, just as Jesus, after receiving baptism in the Jordan River from John the Baptist, defeated the devil three times in the desert.
Think, then, of the depiction of the man born blind – IV Sunday of Lent – with the pool of Siloam (which means “Sent”) plastically set inside our Basilica or the image of the resurrection of Lazarus on the V Sunday of Lent: whoever receives baptism must kill the old man, the one who followed idols and the religion of the pagans in order to resurrect / be reborn as a Christian, a new creature (for this reason the Baptistery of the Basilica is also depicted in that icon).
In the icon of the second Sunday of Lent, inspired by chapter 4 of the Gospel of John, the “Sunday of the Samaritan Woman” as the Ambrosian liturgy recites, the reference to baptism is clearly evident: Jesus has “living water” (4:10), “a spring of water welling up to eternal life” (4:14), it is the water of Baptism, the water of the Christian faith. Jesus underlines the substantial difference between common water – from Jacob's well – and the water he gives to those who are thirsty: “whoever drinks of the water that I will give him will never thirst again” (4:15).
In the speech given in Capernaum on the “bread of life” Jesus will say: “It is the Spirit who gives life” (6,63), then the water that springs up for life to which Jesus refers in the story of the Samaritan woman is the water of the Spirit, the one that quenches the spiritual thirst that is present in every man.
The correspondence between water for life (“living water”) and the Spirit already present, as is known, at the beginning of Genesis, is reaffirmed in the Gospel of John in the chapter preceding that of the Samaritan woman, in the passage in which Jesus, speaking at night with Nicodemus, declares: “Unless one is born of water and the Spirit, he cannot enter the kingdom of God” (3,5).
Parish Newsletter November 2021 – Basilica of the Most Holy Trinity Nereus and Achilleus
The great icon of the Samaritan woman
This large icon is placed on the right wall of the central nave, after the icon of the temptations of Jesus in the desert.
It presents us with a very well-known page from the Gospel of John (4:6-26), pictorially narrated with the usual fidelity and bright chromaticism. This painting, descriptively, is perhaps the simplest of those in the cycle: it narrates the encounter of Jesus with the Samaritan woman, a woman from Samaria, at a well that in ancient Israel, an area not rich in water, was an easy meeting point. The Samaritans, however, were a population considered heretical by the Jews.
In the large icon, we see the sharp reliefs near the citadel of Sychar in Samaria, ancient Shechem (now Nablus), which is depicted in the background. On Mount Gerizim, frescoed here in blue, there was instead the temple of the Samaritans. In fact, the woman will say to Jesus: “Sir, I see that you are a prophet. Our fathers worshiped on this mountain, and you say that Jerusalem is the place where one must worship” (vv. 19-20).
Jesus' encounter with the Samaritan woman takes place next to a well in the land that Jacob—who lived 1,700 years before Jesus—had left as an inheritance to his son Joseph. The three palm trees indicate that it was an ancient oasis where flocks could also be watered.
Jesus, whom we easily recognize in his usual elegant and symbolic attire—the red tunic and the high priest's cloak studded with crosses—is tired from the journey and sits down for a moment of rest. He asks the woman who has just arrived for a drink, with a very simple question that will change his life. Everything centers on Jesus' words: "I have water welling up to eternal life" (v. 14).
The water that Christ offers, as an alternative to that of the traditional well, is a symbol of the new Law, which replaces the old: it is the water of faith. "If you knew the gift of God and who it is that says to you, 'Give me a drink,' you would have asked him, and he would have given you living water" (v. 10).
It's as if something suddenly blossomed, a gush full of new life.
Jesus, therefore, dialogues and offers the good news even to those who were not considered “pure” Jews and who, among other things, seem to understand his message better than many Israelites.
In our painting, the Samaritan woman has a slender figure, long, curly black hair, and wears an elegant embroidered robe, a sign of a wealthy life. Her right hand, raised to her face, emphasizes her surprise at Jesus's words. She is, in fact, astonished by Jesus's knowledge of her life, so much so that she later returned to the city announcing that she had perhaps met the Messiah.
From behind, some of his apostles, who had been in the town of Sychar to buy food, arrive. Peter is holding a cloth and a tray of milk and fruit. Completely unaware of what had happened, they are surprised that Jesus was speaking with a Samaritan woman, but they ask no questions, remaining outside the important encounter. This, however, allows us to introduce the words of Jesus, who not only has living water (faith), but also another food: "My food is to do the will of him who sent me" (v. 34).
There are various symbolic references to the Gospel of John: Jesus arrives in Sychar around midday, and his words, "I thirst," recall what he will later say on the cross, precisely at midday. Jacob's well, which here has an elaborate, elegant, and richly decorated structure, bears the beginning of the inscription:
NAM ILLA SILOE NATATORIA AD QUAM ILLE MITTITUR CAECUS NIL ALIUD NISI FONS SACER SIGNATUS EST
…which is engraved on the geometric baptismal font in pink Baveno granite in the Basilica. Jacob's well was certainly much simpler and more rustic, but here it is transformed into the Christian baptismal font.
Even in this case the painting is like a melting pot of the old and the new together, in which the Old and the New Testaments merge in a single language of faith.
November 12, 2021, Luciano Bissoli

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THE GREAT ICON OF ABRAHAM'S SUNDAY

Premise
This large pictorial cycle linked to the Sundays of Ambrosian Lent was commissioned by the parish priest, Don Gianluigi Panzeri, to the painter Iulian Rosu in 2021.
Now we can truly enjoy, read, and fully understand the complex work created by the artist with imagination, passion, and respect for the evangelical sources.
A project offered to the local community to promote a greater understanding of the Gospel passages of Lent. A fruitful opportunity that, if properly embraced, invites us to discover, embrace, and live by the biblical teachings of the Old and New Testaments. A way, as Saint Paul VI wrote, to "make the spiritual world accessible while preserving its inexpressible character, its aura of mystery."¹
Pierluigi Lia defines Christian art in this way: “Christian art does not merely express a 'representation' or depiction of God, but translates, much more profoundly, the lived inculturation: that is, the perennial, dynamic, and dramatic relevance of Christ, who with his incarnation has become the definitive brother and friend of every man, of every era, of every language, of every image” and “contributes to the development of the language proper to every believing community: the language of liturgy, of prayer, of testimony, the language of the variegated universe that the community shares.” He then specifies that “... a Christian work of art is a word and is not intended... for art critics, collectors, and admirers, but serves the communication of faith and is intended first and foremost for the believer...”².
These twelve large icons, measuring 5 x 4 meters, have completely and positively transformed the appearance of the basilica thanks to their substantial beauty, achieved through rich colors, careful design, sophisticated environmental fusion, and faithfulness to the texts of the Gospels. This cycle, we are certain, has also stimulated the attention, care, and affection of the faithful of this Milanese community for their church, for art, and for Beauty. Iulian's work, having a pictorial soul tied to the styles of Byzantine art, common throughout the Christian world until the advent of Giotto and now an almost exclusive legacy of Orthodox Christians, also represents a historical and cultural revival and a fruitful ecumenical exercise.
Presentation of the painting
We now come to the reading of this last work which requires a careful explanation; it is an important page of the Gospel of John (8,31-59) which is read in the Ambrosian liturgy of the third Sunday of Lent which has as its title: “The Sunday of Abraham”.
The chapter of John, difficult to depict, required a scenographic structure rich in symbolic images and is the result of the close relationship between the Client and the Painter.
The theme is that of the true identity of Jesus. The images speak for themselves: at the center is the figure of Jesus wearing a red tunic that recalls the theme of sacrifice, a deep blue cloak that is identical in color to the cloak of the High Priest found under the small temple on the right. If the latter, recognizable by the ephod he wears on his chest, represents the High Priest of the Old Testament, Jesus is instead the High Priest of the New Testament. In fact, while the former's cloak is quilted with golden Stars of David, the latter's cloak is quilted with golden crosses that recall that Jesus offered the sacrifice of his life once and for all. At the same time, the identical deep blue color indicates, in any case, the continuity between the ancient High Priesthood and the new, between the old and the new covenants. Jesus, placed on a wooden shelf that highlights his centrality, also holds in this icon a closed, wrapped scroll of parchment containing the Word of God, because he, with his life, is actually an open, revealed scroll; he does not need to unroll it as his interlocutors do, flaunting the scrolls of the Law. In the foreground is the scroll with the Shema Yisrael prayer.
At the top right, the small temple is intended to be a reference to the Temple of Jerusalem, in the center a reference to our basilica, and on the left, the Milan Cathedral, carefully reproduced. The entire architectural structure is held together by a red and yellow drape. In the symbolism of Byzantine art, the use of drape indicates that the depicted scene takes place within a place, the Temple of Jerusalem, adorned with a richly decorated floor. But here the drape takes on another meaning: it represents the close and indispensable bond between the Old and New Testaments and between the ancient religion of the Temple of the Jews, which continues in the Christian religion, recognized in the Milanese cathedral.
Behind the small temple, richly decorated with a similar pattern to the floor, Iulian painted a red veil embroidered with stars, reminiscent of the purple and scarlet curtain (as described in the book of Exodus) that separated the sanctuary from the most sacred part, the Holy of Holies, where the Ark of the Covenant was kept and where only the High Priest could enter once a year on the feast of Yom Kippur. That veil was torn at the moment of Jesus' death (Mt 27:51; Mk 15:38; Lk 23:45), as if to suggest that on that day God left the Temple, tearing the veil to be with Jesus on the cross.
In one window, the seven-branched golden candelabrum placed in the Temple of Jerusalem is clearly depicted, whose Hebrew name “Menorah” (Hebrew: מנורה the root “or” means “light”) indicates the oil candlestick⁴ and recalls the seven days of creation.
Jesus, with a serious and decisive attitude, is engaged in a provocative discussion with the priests. The high priest holds up a scroll of the Law, a gesture shared by the other rabbis, just to emphasize their identity as sons of Abraham and their fidelity to tradition, even though, as John says, they had initially believed in Jesus.
Jesus challenges them and invites them to "abide" in his Word as the only true source of freedom. They refuse to entrust themselves completely to Jesus; indeed, they feel offended. They claim Abraham's paternity and accuse him of being "a Samaritan and a demon-possessed man."
Jesus unmasks them by reminding them that Abraham's faith⁵ is absolute trust in the Word of God without demanding guarantees. Jesus then comes out with the expression "Before Abraham was, I Am," with which he affirms his divinity. "I Am" is in fact the translation of the name of God, Yahweh: Abraham had lived 1,800 years before the birth of Jesus, but He claims His own priority over Abraham precisely because He is God come among us ("The Word became flesh and dwelt among us" John 1:14). The Jews who were Jesus' interlocutors understood Jesus' claim ("Who do you think you are?" 8:53) and for this reason they collect stones with the aim of stoning Him because Jesus had uttered blasphemy. “But Jesus hid himself and went out of the temple” (8.59): the evangelist John seems to suggest, God, then, from that moment no longer lives in the temple of Jerusalem.
Behind Jesus are depicted five apostles led by Peter who, with an attitude of strength and extreme confidence, holds in his hand an open scroll with the inscription "You are Christ." It is his confession of faith, as reported in the Synoptic Gospels (Mt 16:13-20; Mk 8:27-30; Lk 9:18-21), which is certainly initial but carries within itself the future faith of the Church.⁶

THE BAPTISTERY - Interior

The strong corner pillars supporting the baptistery's dome frame large round arches inside, creating a Greek cross-shaped space illuminated by the windows of the dome and the two windows on the east and west walls, whose stained-glass windows repeat the Greek cross motif. Opposite the entrance, on the north side, is a small apse containing the altar, set against the yellow Siena marble wall—as is also the case with many elements in the great Basilica—with the relics of the holy martyrs Hippolytus, Adria, Pauline, Neone, and Mary, brought by Cardinal Schuster on the day of the consecration. The presence of the altar inside the Baptistery confirms that Cardinal Schuster intended this place to be a basilica baptisterii.

THE MIRACLE OF THE HEALING OF THE MAN BORN BLIND

Iulian Rosu painted and offered, again, to the faithful of the Basilica of the Holy Martyrs Nereus and Achileus,
the possibility, through art, to discover a new and exciting moment in the life of Jesus,
as told by the evangelist John, in chapter 9.
The large icon depicting him was placed on the right wall of the nave on February 25th
2021.
As usual our painter takes possession of the space to be illustrated without passing through a
series of studies and sketches. After a careful reading with the client, the parish priest Don Gianluigi Panzeri, of the
evangelical passage that he has to represent, Iulian reconstructs a natural environment in which he inserts figures
and anything else that may be useful to help understand what is represented. It also takes into account that
it can only be seen from below and from a certain distance.
The usual bright color scheme also represents a valid support not only visually. In fact, it gives vigor,
liveliness and invites a proper curiosity.
The Icon, like the Gospel page, is rich in theological, symbolic and artistic aspects
which have a single purpose: to represent the divine mystery. Nothing is left to chance and nothing is
superfluous has been painted. As Paul Klee wrote: art "does not represent the visible, but the invisible."
which is hidden in the visible”, the icon is therefore essentially a spiritual experience before being a
imaginative photograph of the event.
The background features rocky, robust conical-shaped hills with the typical sharp crags, which
They host some twisted, but very lively trees. The mountain is, among other things, the symbolic place of the word
di God. At the far right we see the complex structure of the pool of Siloam, purely imaginary,
with columns that have the features (note the capitals) of those of the nave and of the ciborium of the
Basilica, just to maintain the fruitful relationship between the Old, the New Testament and the life of the
Church that the painter emphasizes with conviction in every icon painted so far. An environment
monumental and elegant in which we see a large, colorful and decorated basin whose color
reminiscent of reddish basalt, a volcanic rock widely used in Middle Eastern countries.
We remember that the pool of Siloam, in addition to being a space dedicated to ritual washing before
entering the Temple, was a natural water reserve for the city of Jerusalem, dug into a
rock wall, as confirmed by recent archaeological excavations (2004) which brought it to light.
In the centre we see the figure of Jesus with his usual rich clothes which remind us of his being Supreme
Priest. In his left hand he holds the Gospel scroll. The golden halo has a cross inscribed with
three Greek letters meaning: “He who is, who was and who will be” as it is written in the book
of the Apocalypse.
On his left we see the usual group of apostles who, after the discussion with Jesus
regarding why that man was born blind, I am always in a state that we do not know if
to define out of curiosity or expectation of an extraordinary event. We recognize Peter (with golden keys
hung around the neck and neatly styled hair) and John the Evangelist who in his Gospel tells us
l'episode, with his right hand covered by a corner of his cloak.
Jesus, whose face is marked by a light and affectionate smile, has just mixed a little bit of saliva with his hands.
' a little earth and is spreading it on the eyes of the man born blind. It is a gesture that is like a new act of
creation and it will be the beginning of a new life for him.
The blind man is depicted as small, young-looking and dressed in a poor, holey goatskin:
Behind him is a basket, a stone, and a robe, all his possessions. He leans on a slender, knotty
A stick from which, miraculously, a twig with three green leaves emerges. This is very beautiful.
particularly that we read how life, a gift from God, is born even in places that seem arid.
The blind man does not regain his sight immediately, but by blindly trusting, as they say, in the action of Jesus and
of his words, he immediately goes to the pool of Siloam which means “sent”. “He went, he
washed and returned seeing”. The pool of the Messenger is a clear reference to the baptismal font, where
si receives the sacrament of faith: having faith is having new eyes. The baptismal theme is
characteristic of the time of Lent.
After his healing, the troubles begin with the Pharisees who chase him away, as widely told
John. They who were so knowledgeable and observant of the traditions were not able to
to see and to believe because they were not free men.
Jesus heard that they had cast out [from the Synagogue] the one who had been blind, and when he had found him, he
disse, “Do you believe in the Son of Man?” He answered, “And who is he, Lord, that I may believe in him?”
Jesus said, “You have seen him; it is he who is talking to you.” And he said, “Lord, I believe!”
“What was Jesus' gaze like? What messages did he convey? What impact did he have on those who encountered him?
...... The gaze that he directs to the man born blind and to each of us is therefore eternal, free, intimate and
universal time. It is the gaze that allows everyone to see and understand.”
Now the healed blind man, who represents us all, has the opportunity to see Jesus, read in his eyes and
discover his gaze of love and mercy and finally see the true light and Beauty. All
we can live the experience of the man born blind, it would be enough to believe in him.
L. Bissoli, February 27, 2021

THE GREAT ICON OF THE RESURRECTION OF LAZARUS

The Resurrection of Lazarus is narrated only by the evangelist John (Jn 11,1-44) and becomes a
preparation to understand the mystery of the Easter Resurrection.
Technical notes
The support for this new work, as it will be for all the others in the program, has been
performed on a wooden sheet supported by canvas (production of the well-known company Tabu SpA of
Cantù), using, as usual, according to the ancient iconographic art, mineral and natural pigments
misti with art and with workshop secrets with egg yolk acting as a binder. The painting will be
placed together with that of the healing of the man born blind on which the artist is working, on
right wall of the central nave, marking new stages of the journey proposed by the Gospels
Lenten in the Ambrosian rite.
The close and fruitful collaboration between the client, Don Gianluigi Panzeri and the painter Iulian
Rosu, has allowed the resurrection of Lazarus to be represented with great catechetical relevance
e powerful aesthetic intensity, favored by an illuminated chromaticism.
Presentation of the painting
The event of Lazarus being called back from death to life by Jesus is set in the area
cemetery of the small village of Bethany – outskirts of Jerusalem – characterised by robust
rocks depicted according to the centuries-old Byzantine tradition which does not take perspective into account.
The place is not isolated, however. In fact, there is a link with Jerusalem and the Temple, which is
sees above. It is, in fact, no coincidence that the modern structure is placed next to the Temple
of the baptismal building of the basilica, which we know was inspired by Cardinal Schuster (he consecrated it in
1940) on the model of Sant'Aquilino near San Lorenzo alle Colonne which he considered the baptistery
of the ancient city of Milan. He wanted the baptistery to be external, octagonal in plan, and separate
from the Basilica, following the inspirations of our patron Ambrose and the customs of the first
Ambrosian Church. The meaning of the Baptistery in the scene of Lazarus is the following: whoever receives the
Baptism must kill the old man and resurrect a new creature; receiving the sacrament of
Baptism is in fact the beginning of a new life, a life of resurrection, as St. Paul says (Col 3:1).
As is known, until the year 1000 baptisms were administered on only one day a year,
in the Easter vigil in which the heart of the Christian faith is announced, the resurrection of Jesus,
Jesus who conquers death.
This choice emphasizes the unity, continuity and harmony between the Old and New Testaments and the life
of the Church.
At the centre of the painting stands the slender figure of the Messiah with sumptuous priestly robes that
They emphasize his divine majesty, his being the bearer of life and the conqueror of death. In his hand
The left side bears a scroll wrapped as per Byzantine tradition, to signify that Jesus
same is the Word of God. Pure gold leaf was used for Jesus' rich halo. Jesus
after praying to the Father, he makes an almost imperious gesture and says in a loud voice: Lazarus, come out!
After these words, everything seems suspended, the silence and the wait are palpable.
On the left, with a glimpse of the houses of Bethany, there is a group of disciples. We recognize St.
Peter who carries the two keys around his neck, Saint Thomas who has his finger pointed with a questioning expression
towards Jesus, the apostle Andrew at the edge of the group and the youngest apostle, the evangelist
John, kneeling and with the right hand with which he wrote the Word of God covered, for
rispetto, as in use in Byzantine painting. We can also identify Thomas who with air
interrogativa has his finger pointed at Jesus. Everyone's attitude is one of surprise that still
non has turned into joy.
At the feet of Jesus are the two sisters of Lazarus, Mary and Martha, who are heartbroken over the death of their
brother holding the edges of Jesus' garment says, in a tone of supplication and without hope: “Lord
if you had been here, my brother would not have died”. Behind her is Mary with her hand on her face
to express amazement and wonder at seeing one's brother brought back to life.
Lazarus, with a surprised attitude, is already coming out of the tomb carved in the rock,
still wrapped in bandages of an unusual pink color, which a friend is untying. At his
On the right you can see a young man still holding the decorated boulder that closed the tomb.
At the base of the painting is reported what Jesus had answered to Mary: “I am the resurrection and the
life. Whoever believes in me, even though he dies, will live...”.
This phrase is transcribed in elegant characters at the base of the painting which depicts a cut field.
It certainly could not have been written in another part of the painting as is done in “comics”, but here
This choice reminds us that the Resurrection of Christ is the foundation of our faith, as the
fertile humus that nourishes the earth.
L. Bissoli, February 17, 2021

THE BAPTISTERY - Iconography of the triumphal arch and the altarpiece

Still referring to Ezekiel 47:7.12, the arch is entirely decorated with an intertwining of branches laden with fruit, among whose fronds move birds – among which a dove and a peacock stand out – and squirrels: a true hymn to the fertility of water, the source of life.
Among the branches is also woven a scroll containing the profession of Trinitarian faith that the catechumen had to proclaim before receiving Baptism:
“I believe in God the Father... I believe in Jesus Christ... I believe in the Holy Spirit.”
At the base of the arch are depicted two symbolic moments linked to the baptismal rite:
– on the left, “Take the white robe”;
– on the right, “Take the burning lamp.”
The altarpiece, painted in oils by Pietro Fornari, depicts the Baptism of Jesus in the River Jordan, according to the Gospel narrative. The composition is clearly inspired by the famous one by Verrocchio, in whose workshop the young Leonardo da Vinci also trained.

THE GREAT ICON OF THE ANOINTING OF JESUS IN THE HOUSE OF LAZARUS, MARTHA, AND MARY IN BETHANY

As with the other icons, the painting was executed on a special support of canvas and wood leaf.
legno, approximately 20 m2 (5m x 4), using mineral and natural pigments mixed with egg yolk with
It serves as a binding agent, as dictated by the age-old tradition of icons. Gold leaf was used.
zecchino for the halo of Jesus and the amphora of Mary with the precious ointment, while in leaf
d'argento is the purse of Judas. The lively and fascinating painting by Iulian Rosu has been placed,
Friday, January 8, 2021, on the right wall of the central nave of the basilica. The painter,
always attentive to the suggestions of Don Gianluigi Panzeri, he represented with great fidelity the
pagina of the Gospel of John (Chap. 12,1-11), integrating it with some formal underlinings and
of color that enhance the event and allow a more in-depth "reading" by the
faithful of this lively community of Christians.
Taking note of the explanations, profusely offered, both by Don Panzeri and by Rosu, here we are
a to present this Icon which is characterized by a precise specific symbolism which now
let's find out.
Presentation of the painting:
The evening before the solemn entry into Jerusalem, Jesus stops
a dinner during a festive moment with Lazarus returned to life, Mary and Martha.
We know that Jesus
He loved these three brothers very much and was often their guest when he went to Jerusalem.
The scene takes place in the house of Bethany depicted according to the classical Byzantine schemes, but set
in the architectural reality of the basilica of SS. Nereo and Achilleo, clearly recognizable in the ciborium which is
above the person Jesus. The Messiah wears sumptuous priestly robes to underline his being
High Priest of the New Covenant, but on his cloak, of an intense blue, you can see a
cross-shaped ornament that is a reminder of his now imminent supreme and eternal sacrifice.
In the center, in the foreground, a large semicircular table, set with various furnishings with figs,
Grapes, olives, pomegranates, three apples, wine, bread, and three fish. All products of the earth that are also a
recall to the Old Testament, to the parables of Jesus, to his Passion and, in particular,
all the Eucharist.
Among the furnishings we find a chalice that recalls in shape the one of the First Mass of Don
Panzeri. At the far right of the table we see a precious green jug painted with
emerald powder, while dioptase pigment is used, diluted, to underline the words
written on the edge of the tablecloth as if it were a precious embroidery.
Let us now try to recognize the characters depicted in the rich scene.
Here is Lazarus, also elegantly dressed, holding a dish with two fish. Near him is
Marta, the always busy sister, who offers a tray with water, milk and cheese.
At the feet of Jesus we see Mary who, after having anointed the Master's feet with the perfume of nard "very
“precious” (Jn 12:3), dries them with her long hair. Her attitude manifests her love and
attachment to Jesus. Note also the refinement of the container of the precious perfume covered by
pure gold leaf.
Behind Mary we see a young man sitting on a stool. This is the evangelist and apostle.
John who follows attentively what is happening. In fact, it is he who narrates this dinner of the
cena of Bethany in his Gospel. In the Byzantine tradition the right hand, with which the four
The evangelists wrote the Holy Gospel, it is painted, out of respect, always covered.
Continuing our "reading" we see, on the right, a group of six people. They are others
the apostles, who were also evidently invited to celebrate in Bethany. They wear colorful clothes and two of them
are immediately recognizable: Judas, with the inevitable bag of money (covered with leaf
(silver) and Peter with two keys placed, significantly, on his chest; he has his eyes closed as if
stasse intensely thinking about Mary's gesture and intensely smelling the fragrance of that
perfume. The third apostle, unrecognizable, doubtfully strokes his long beard. A
attitude caused by the words of Judas who, with an evident nervous gesture, turns his head,
He points to Jesus and Mary saying that this act was a waste and that it would be
It's better to sell that precious perfume for 300 denarii and help the poor. Note that Judas is the only one.
character who does not look towards Jesus and withdraws from the scene.
To Judas' "provocation", Jesus, who with a gesture indicates Mary at his feet, responds with the phrase
It was written on the tablecloth: “You always have the poor with you, but you do not always have me.”
But other characters appear. There are, in fact, two bearded figures who look out from a
elegante mullioned window. They are immediately recognizable: they are two Pharisees with their typical robes.
e the phylactery on the forehead (a leather case tied on the head containing scrolls with some
(passages of the Torah) sent to Bethany to spy on Jesus' moves. The High Priests, in fact, had already
He decided to arrest and kill Lazarus along with Jesus, "because many Jews were going away because of him."
“They went away and believed in Jesus” (Jn 12:10-11).
Beyond the wall of the house, note the large construction of the temple of Jerusalem (Bethany is in fact
soli 3 km) which is connected by a red cloth with the ciborium of the basilica under which Jesus is. The ancient
the place of sacrifices is ideally united to the new place of sacrifice: under the ciborium, on the altar, Christ is
priest and victim of the new covenant. It is ideally a single great house: this is,
precisely, the meaning of the red cloth. Jerusalem, with its Temple, with the altar of sacrifices and the
The so-called sea of bronze will be the next stage in Jesus' life.

THE BAPTISTERY - The fresco on the right wall: The Resurrection

In the first centuries, Baptism was administered exclusively during the Easter Vigil, after a long period of preparation for the Christian faith: catechumens in fact followed a formative path of two or three years.
Why Easter?
Because the heart of the Christian faith is not a generic “I believe in God”, but the proclamation:
“I believe in the resurrection of Jesus.”
As St. Paul writes: “If Christ has not been raised, our faith is in vain” (1 Cor 15:17).
The painter deliberately chose the eastern wall, the one where the sun rises, to fresco the scene of the Resurrection, also incorporating the circular window from which the light penetrates: it is the light of Easter, which irradiates the Baptistery.
At the centre of the composition, immersed in a dazzling beam of light, appears the risen Christ, victorious over death: he wears a white robe, raises his right hand in a sign of blessing, while with his left he holds the crusader banner, symbol of the Paschal victory.

THE BAPTISTERY - The fresco on the left: St. Ambrose baptizing St. Augustine

The fresco depicts the emblematic baptism that Saint Ambrose (340–397) administered to Saint Augustine (354–430) on the night of the Easter Vigil between 24 and 25 April 387, in the presence of his mother Saint Monica, in the Baptistery of Saint John the Baptist.
This ancient building, demolished in 1388, was brought to light only in 1961 thanks to archaeological excavations conducted under the parvis of Milan Cathedral, in Piazza del Duomo.
Cardinal Schuster, however, believed that the baptistery in which the baptism took place was the 4th-century octagonal building now known as the Chapel of San Aquilino, annexed to the Basilica of San Lorenzo Maggiore.
For this reason, the painter Pietro Fornari chose to reproduce, as the background of the fresco, the architecture and the apse mosaic decorations typical of that ancient building.

THE BAPTISTERY - The fresco on the counterfaçade: St. Alfred receiving the relics

This fresco is dedicated to St. Alfred (Altfrid), Bishop of Hildesheim in Saxony, receiving a casket of relics sent by the Pope. Alfred was the name of both Archbishop Schuster and his benefactor Castelli. For the consecration of the Basilica, Pope Pius XII also sent a casket of relics of martyrs, which were kept and venerated in the baptistery.

FIRST SUNDAY OF ADVENT THE COMING OF THE LORD

The painting depicts the Parousia, the second coming of the Lord at the end of the world, as presented in the Gospels of Matthew, Mark, and Luke. These Gospels, in the Ambrosian rite, are read on the first Sunday of Advent, which, unlike the Roman rite, begins on the first Sunday after the feast of St. Martin, which always falls on November 11. In past centuries, it also marked the end of the social and civil year. The painting is rich in symbols and colors that have the sole purpose of exalting the Son of Man who is about to come on the clouds of heaven with power and great glory (Mark 13:26). This Sunday's Gospel text interweaves words from the Old Testament, specifically the Book of Daniel, with others from Isaiah and Ezekiel to speak of the figure, well-known in Israel's apocalyptic tradition, of the Son of Man identified in the glorious manifestation of Jesus Christ, the awaited Messiah, who, above the cataclysms of history and the cosmos, will come as judge of the universe. At the center of the icon is depicted Jesus, the Son of Man. He does not wear the usual red and blue robe that appears in other icons in the Basilica. Here, Jesus is depicted wearing a flowing robe in the splendid, luminous yellow of the sun. His face has delicate, serene features that reveal his beauty and goodness. Not the face of one who judges harshly, but of one who loves his creatures infinitely. His halo is made of pure gold and bears three ancient Greek letters: "was," "is," and "will be." These are definitions found in Revelation 4:8, referring to God, referring to the revelation made to Moses in the burning bush. The Son of Man is seated on a rich Byzantine throne decorated with precious gems and wears red shoes. He is no longer barefoot, as in all the other depictions in the icons of the Basilica.
His right hand, commonly referred to as the hand of mercy, is in blessing (with three fingers according to ancient tradition). With his left, Jesus holds a Gospel Book prominently in view, as is often seen in many mosaics and icons. This depiction requires some clarification: the painting presents one of the most precious pieces in the Treasury of Milan Cathedral, the gold-leaf dust jacket commissioned by Ariberto da Intimiano, Archbishop of Milan from 1018 to 1054, to contain the Gospel Book he donated to our cathedral around 1034. This work features splendid Byzantine-style workmanship that emphasizes the centrality of the crucified Christ and the salvation offered to humanity through the sacrifice of the cross, depicted at the center of the cover. The historical reference and close connection between the Cathedral and the Ambrosian Church, to which the Community of the Basilica of SS. Martyrs Nereus and Achilleus. Note, however, that Jesus does not present what we call the cover of the Book of the Gospels, but rather the back cover, because the Gospel—which in the fresco in the apse of the Basilica by Vanni Rossi (1894-1973) was instead open to indicate to the faithful that Christ the King is the Way to follow to reach true life; his open Gospel reads, precisely, "Ego sum vita"—is closed here. Indeed, this is the second and final coming of Jesus at the end of the world: the time for conversion is over, which is why the Gospel is now closed; this is the time of the Last Judgement. The figure of Jesus is set in a double, irregular, and unusual rhomboid frame that symbolically represents "the clouds of heaven on which the Son of Man will come." In the first rhombus, or first heaven, are inscribed four Greek letters abbreviating his name ("Jesus," looking to the left, and "Christ," looking to the right), with images of the Seraphim, colored red and pink, a hue reminiscent of fire. Indeed, in Hebrew, the root שרף (śārāf) means "to burn." These Seraphim, who according to tradition are the angels closest to God in the celestial hierarchy, reside in the crystalline heaven and excel in God's love. They are depicted with six enclosed wings—as Isaiah 6:1-3 says—that partially hide their faces. In the second rhombus or second heaven there are the four Cherubim כְּרוּבִים (kerubim), angelic forms as spoken of by the prophet Ezekiel (1,5-6.10) which in Christian symbolism become an allusion to the four Evangelists, as mentioned in the book of Revelation 4,6-7: clockwise the angel (Matthew), the ox (Luke, defined by Dante in De Monarchia, Scriba meekness of Christ, because in his gospel he narrates the parables of mercy: the prodigal son, the good Samaritan), the lion (Mark) and the eagle (John – the eagle flies higher than all the birds and can stare at the sun without being blinded). The first Christian writer to unite the four symbols with the four evangelists was St. Irenaeus of Lyon (130-202 AD), later taken up by St. Jerome (347-420). This set of images is significant and catechetical, recalling the role of the apostolic Church in accompanying the return of Christ as Lord of history and the world. Above the head of Jesus, decorated with a rich golden halo made using the stiacciato technique, are depicted, personified, the sun and moon cited in the Gospel passage that this icon refers to. A whirlwind of angels in flight against a background of an intense, dark midnight blue sky, two with trumpets (Mt 24:31); four others bear the symbols of fire, water, earth, and air, the elements identified as early as the 5th century BC by Empedocles of Agrigento as the "roots of the universe." The whole world, the entire universe, must appear before the Son of Man to be judged on the values and principles collected in the Gospel Book (the Book of the Gospels). The angels and all creation form a crown and exalt the glory of the Son of Man, Jesus, judge of the universe. At Jesus' feet, two angels in green robes hold a large scroll with the inscription: THEY WILL SEE THE SON OF MAN COMING ON THE CLOUDS OF HEAVEN, which reproduces the conclusion of the Gospel passage for the first Sunday of Advent in the Ambrosian rite in all three synoptics: Mt 24:30; Mk 13:26; Lk 21:27.

SECOND SUNDAY OF ADVENT THE CHILDREN OF THE KINGDOM

Introduction: This icon, with the characteristic style of artist Julian Rosu and its vibrant colors, represents the Gospel passage for the second Sunday of Advent of the Ambrosian rite, entitled "The Sons of the Kingdom." The gift of Jesus' coming cannot be welcomed except through the journey of conversion to which John the Baptist urged us by baptizing his contemporaries in the Jordan River after confessing their sins. Baptism (immersion in water) was a widespread practice in the Old Testament (there were various purification rites, see Lev 14:5-6; Is 1:16) and in the Qumran community, from which John the Baptist may have come.
Presentation of the painting In the icon, set in a desert area (Mt 3,1 In those days John the Baptist came, preaching in the Judean desert, and the prophecy of Isaiah quoted by Mark reads: The voice of one crying in the wilderness), the figure of the Baptist stands out, baptizing in the water-rich Jordan River the people who “ran to him… confessing their sins” (Mk 1,5). The Sons of the Kingdom are those who convert. This theme in the Gospel of Luke, which is read in Year A, is developed in Luke 3,1-18. In the Gospel of Luke 3,11 we read that John the Baptist, to those who questioned him about salvation, responded: “Whoever has two tunics, let him give one to him who has none…”. And the artist then depicted a person offering a tunic behind the person receiving baptism. The Gospel of Luke continues (vv. 12-13): Tax collectors also came to be baptized, and they asked him, "Teacher, what should we do?" He said to them, "Collect no more than what you are required to pay." The painter then depicted a tax collector (a tax collector) in sumptuous clothing with a soldier behind him. In fact, v. 14 records that: Soldiers also asked him, "And we, what should we do?" He answered them, "Do not oppress anyone or extort anything; be content with your wages." In the icon, the soldier then draws his sword not from the hilt, but from its scabbard as a sign that he wants to lay it down; in this way, with the hilt, the sword has the shape of a cross. As is well known, the Jordan River, in which John baptized, flows into the great trench of the Dead Sea (-400 meters above sea level), where life is impossible due to the presence of bitumen and high salinity. For this reason, fish seek salvation by swimming against the current. In an ancient 6th-century floor mosaic discovered in the Church of St. George in Madaba, Jordan, fish were depicted turning back to avoid ending up in the Dead Sea, and so too in this great icon. Fish thus become a symbol of Christians who, to save themselves, must convert—that is, make a U-turn—to avoid being swept away by the current of the river of the world that leads to the Dead Sea. The Children of the Kingdom are therefore those who convert by receiving the baptism of conversion, where conversion means a reversal, a turning back, which recalls the prophetic invitation to the people to return to their previous relationship with God (before sin). Behind the Baptist, depicted in a green robe is Saint Andrew – Simon Peter's brother – who, before becoming one of Jesus' 12 apostles, was a disciple of John, as the Gospel of John reminds us (1:35-41). He first found his brother Simon and said to him, 'We have found the Messiah' (which, translated, means Christ); and he brought him to Jesus" (v. 42). In the icon on the left, the artist has depicted a tree that is now withered and no longer bearing fruit, with an axe resting on its trunk. The Baptist, in fact, said: "... the axe is laid to the root of the trees; Therefore every tree that does not bear good fruit is cut down and thrown into the fire" (Lk 3:9 // Mt 3:10). The passage from Mt 3:1-12 that we read in Year B actually opens the Gospel of Matthew, after the first two chapters dedicated to the birth and childhood of Jesus. As is known, the preaching of Jesus (which will begin in Mt 4:12, after his baptism and the temptations in the desert) was preceded by the preaching and baptism of John the Baptist, from which this Sunday's passage is taken, which opens with the invitation: Repent, for the kingdom of heaven is at hand! These are the identical words that Jesus will say at the beginning of his preaching (Mt 4:17), creating a unity of purpose between the two characters. "The children of the Kingdom" are those who prepare for the coming of the Lord with works of conversion. As seen in the icon, John (with a full halo, not in the shape of a cross like Jesus's) wore a robe of camel's hair and a loincloth, like Elijah, considered the father of the prophets (2 Kings 1:8). His food was locusts (an edible insect according to Lev 11:22) and wild honey, typical desert foods. Everyone flocked to him, even the Pharisees and Sadducees, because no one was excluded from the call to conversion. At the two ends of the icon, some stones were depicted, because—again in the Gospel of Matthew 3:9—we read that John said: I tell you that God is able to raise up children for Abraham from these stones. The Baptist then acknowledged his inferiorness to Jesus because, speaking to the crowds, he said: He who comes after me is mightier than I; I am not worthy to carry his sandals; he will baptize you with the Holy Spirit and fire (Mt 3:10). "The children of the Kingdom" are therefore those who know how to await the Messiah. In Year C, the liturgy offers us the passage from Mark 1:1-18. Focusing our gaze on John means accepting his invitation to prepare ourselves for the encounter with Jesus the Messiah (Christ), the Son of God. The "good news" that opens the Gospel of Mark is therefore this: to encounter Jesus in our lives we first need to convert, as John the Baptist said; we must recognize our sins and our mistakes to experience God's mercy. The theme of the path to be made straight will be developed in the commentary on the fifth icon of Advent: the Sunday of the Forerunner. All the reflections already set forth for the Gospels of Luke and Matthew apply to the commentary on the Gospel of Mark. Finally, a note: in this icon we find, at the top right, a reference to the Basilica of Saints Nereus and Achilleus, whose main façade is ideally represented as adjacent to the structure of the temple of Jerusalem.

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THIRD SUNDAY OF ADVENT: PROPHECIES FULFILLED

In this icon for the third Sunday of Advent, the painter Iulian Rosu depicted Jesus speaking to John the Baptist, as we read in the Gospel of the Ambrosian rite. Like the other icons, it was executed on a special canvas support covered with a wood leaf. The surface was painted using ancient icon techniques, using only natural and mineral pigments mixed with egg yolk as a binding agent. This is certainly not a new technique, but the visual impact is always fresh, strong, and pleasing due to the brilliant, warm hues and the atmosphere created. We know, however, that a religious painting should not only aim for purely external beauty but should also offer an opportunity for catechesis through the images to discover true Beauty and better understand Jesus' teachings. In our opinion, the work perfectly fulfills its purpose and succeeds in presenting a moment in which each of us can, almost physically, participate in, welcome, and share the words that Jesus speaks of John the Baptist. It should also be noted that this painting, like all the others, is the result of close collaboration between the patron, Don Panzeri, and the painter. Each painting is, in fact, the result of an in-depth analysis of the texts to which the scene refers, exchanging ideas, symbolism, and setting ecumenically. Iulian then prepares a quick sketch and a draft, which he then translates, with spectacular spatial mastery, onto the large panel, which, we recall, measures approximately 20 square meters.
Presentation of the painting This large icon is set among rugged, jagged rocks, but they are not a lifeless desert. Here and there, tufts of grass and a few sturdy plants emerge. It is a welcoming place despite its apparent harshness and the drama of John, who is in prison for courageously denouncing the immoral behavior of Herod Antipas. In the background of the scene, we see an intricate architecture that reminds us that what is depicted did not take place on any planet, but on Earth, specifically in Jerusalem. It also concerns the parish of Saints Nereus and Achilleus and the entire community. Through a pictorial device, on the left side we see the architectural outline of the entrance to the chapel of the parish's Oratory of San Carlo, and on the right a large window with sturdy bars from which, regardless of the barrier, the figure of John emerges, adorned with a rich halo. At the center is the figure of Christ, dressed in his usual high priestly robes and, as always, with the scroll of the Word rolled up and closed, for Christ himself is the Word, a scroll always open to reveal the "good news" of the coming of the Kingdom of God. With his left arm, he points to a figure in prison, John the Baptist, who is the subject of his discourse. Our painter's depiction of him is highly effective: a figure that takes no notice of the sturdy bars. It is as if the power of John's words and his work as a forerunner, as a herald of Christ, cannot be locked away in any dark prison. His testimony as a prophet is a “burning and shining lamp” (Jn 5:35) in the desert that will never go out, as underlined by the light emanating from the oil lamp lit on the windowsill and by the golden halo in pure gold! To those present, Jesus thus presents the Baptist: “What did you go out into the wilderness to see? A reed shaken by the wind? Then what did you go out to see? A man dressed in soft robes? Those who wear sumptuous robes and live in luxury are in kings' palaces. Then what did you go out to see? A prophet? Yes, I tell you, and one greater than a prophet. This is he of whom it is written, ‘Behold, my messenger; I send him before your face, and he will prepare your way before you’” (Mt 11:7-10; Lk 7:24-27). Two groups are depicted. On the left are some of Jesus' disciples, but not the apostles, and on the right, facing Jesus, are the disciples sent by John, who ask with broken faces: "Are you the one who is to come (that is, the Messiah), or should we look for another?" (Mt 11:3; Lk 7:19; Jn 5:33). One disciple presents John's camel-hair robe, a reminder of his fasting and life in the desert, as a sign of recognition that John sent him. This Sunday is entitled "the fulfilled prophecies" because Jesus responds to John's disciples by affirming that Isaiah's prophecy (Is 26:19-29) has come true: The blind receive their sight, the lame walk, lepers are cleansed, and the poor have the good news brought to them (Mt 11:5). For this reason, the icon depicts a young man who raises his hand to his healed eyes and leaves behind his staff, which is no longer necessary because he has been healed by Jesus.

THE TRIUMPHAL ENTRY OF JESUS INTO JERUSALEM

This painting by Iulian Rosu depicts Jesus' entry into Jerusalem, which is narrated by all four evangelists: Mt 21:1-9; Mk 11:1-11; Lk 19:28-38; and Jn 12:12-19. As has already been emphasized in various articles published during the months of March and April 2021 by various Milanese newspapers, starting with Corriere della Sera, and in particular in the article by Luca Frigerio in the diocesan supplement of Avvenire on Sunday 21st, which specifies in the title: "New colors illuminate the basilica of Cardinal Schuster," we must say that this is indeed the case. The chromatic sobriety of the basilica's interior, somewhat timidly interrupted by the vibrant colors of Vanni Rossi's paintings in the presbytery and side aisles, is undoubtedly suspended by the bright and vibrant palette of colors applied by Iulian Rosu, who remains faithful to the Byzantine tradition. This faithfulness is a sign of thoughtful belonging. His creativity, however, is not "caged" and expresses itself without rigidity, with free and inventive imagination, all carefully considered aspects because, with the closeness of Father Panzeri, the artist does not forget that his work is at the service of faith and must be a precise catechesis. His is a fascinating way of "expressing God with art" (an apt definition by Father Pierluigi Lia).
Presentation of the large iconLet us now try to "read" this icon, a new decorative and catechetical enrichment for the basilica. It depicts an environment with interesting details that enrich the scene. The figure of Jesus is the most imposing and majestic. In the background are the usual rugged and jagged mountains, yet filled with trees with bright leaves, as if nature too wanted to share in the joy of Jesus' arrival. This is a representation of the Mount of Olives. On the far right, we see a building protected by a wall decorated with a Greek cross (with four arms of identical size) set within a dark circle. Obviously, the buildings of Jerusalem did not have such decoration, but here the historical and religious connection between the Temple of Jerusalem and the Basilica of Saints Nereus and Achilleus, found in every icon created to date, is renewed. This decoration is, in fact, found in the complex wall enclosure with characteristic tower-like pillars that surrounds the area of the Milanese basilica. To the left of Jesus is the group of apostles, including Peter and, strangely, the apostle Paul, with his blue robe, pointed beard, and long hair. This is clearly a deliberate historical distortion. Paul never met or knew Jesus during his lifetime, but Iulian is certain that Saul, after his conversion, had the opportunity to relive, as we should, every moment of the master's life. We also see the evangelist John humbly laying his cloak on the ground, almost as if stripping himself of his "self." In the center, Jesus, in his usual royal robes, holds the Gospel scroll in his left hand. He rides a donkey's colt, gray-haired and gentle-looking, participating in the celebration, holding an olive branch in its mouth. From the olive branch, as we know, comes the oil used, according to Jewish tradition, to anoint kings. There is nothing triumphant about Jesus' arrival. He did not choose to arrive on horseback, as triumphant men do to demonstrate their power and strength in war. He prefers to appear on a donkey, as did the ancient kings of Israel (Genesis 49:11). He reveals himself as the Messiah, the Prince of Peace who imposes nothing. He gestures in blessing toward those who await him at the city gates and acclaim him, saying: "Hosanna! Blessed is he who comes in the name of the Lord." It's worth remembering that the resurrection of Lazarus had just occurred, and the people longed to meet and celebrate Jesus. Attentive observers will have noticed that Jesus's red robe and blue cloak, decorated with a cross, are painted identically in the paintings depicting the anointing in Bethany, the resurrection of Lazarus, and the healing of the man born blind. Why? It's a precise catechesis! The red robe and the cross painted on the cloak remind us that Jesus has begun his journey to Jerusalem, where he would be crucified. The scenes depicted are indeed a moment of joy, but as Pope Francis said in his homily at the Chrism Mass on April 3, 2021, "the hour of joyful proclamation and the hour of persecution go together... it is a cross that saves... that defeats evil." A cross to embrace! Among those awaiting him, we see a little girl waving a palm branch and a little boy placing his best robe at the feet of the donkey, offering what is, perhaps, most precious to him. Among the figures welcoming Christ at the walls of Jerusalem, we see an elderly woman waving an olive branch, her face carefully painted and not according to the rules of Byzantine art. Why? It was a surprise homage from the painter to his client: it reproduces, in fact, the face of Don Panzeri's mother. We note that among the figures of the people acclaiming Jesus, there is also a Pharisee who does not wave a palm. A final observation: the apostles and Jesus do not wear sandals like the inhabitants of Jerusalem, because the Prophet Isaiah (52:7) wrote: How beautiful are the feet of the messenger who announces peace, of the messenger of good news who announces salvation, who says to Zion: "Your God reigns."

THE GREAT ICON OF THE PRECURSOR JOHN THE BAPTIST

Iulian Rosu's vibrantly colored painting was installed on Tuesday, April 13, 2021, on the left wall—dedicated to the Sundays of Advent—of the basilica's central nave. The large icon references the passage from the Gospel of St. John read during Holy Mass on the Fifth Sunday of Advent, which in the Ambrosian rite is called "The Forerunner's Sunday." Like the other icons, this one, depicting John the Baptist, known as "the Forerunner," was painted on a special canvas and thin wood support produced by the TABU company of Cantù. The approximately 20 square meter surface was painted using ancient icon techniques, using only natural pigments and minerals mixed with egg yolk as a binding agent. This icon, too, required more than 400 egg yolks. The painter, always attentive to the suggestions of his client, Don Gianluigi Panzeri, has faithfully represented the pages of the first chapters of the Gospel of John dedicated to the figure of John baptizing in the River Jordan, integrating them with some emphasis on form and color that enhance the event and allow for a more in-depth "reading" by the faithful who attend the liturgies on Sundays in large numbers.
Presentation of the painting Central to this painting is the figure of John the Baptist, known as the "Precursor" because with his prophetic preaching he announced the coming of Jesus, the Expected One, inviting the people who flocked to receive baptism to prepare for his coming. The Baptist is mentioned in all four Gospels, but Rosu's painting presents the version of Saint John in particular. The Precursor stands out in the center of an environment characterized by sharp, rugged rocks, almost as if to visually represent the tone of John's preaching, "a voice crying in the wilderness" (John 1:23). The Baptist stands eloquently, with his feet on a rock in the Jordan River where he baptized the people who flocked to him. He is dressed in camel skin and wears a belt around his waist, as the Gospel says. He has long hair and beard and the wiry appearance of a man accustomed to fasting. In fact, it fed only on locusts and wild honey. He raises his right arm to indicate Jesus as the Messiah who is about to come, affirming that he is not the Christ (the Messiah), but the one who must prepare his coming, the "Precursor", precisely. Jesus the Messiah is then painted at the top with a pure gold halo in a large blue circle which, in the centre, has three concentric circles, symbol of the Trinity, a Trinitarian representation also present in the icon of the Annunciation and which is also found in many historical icons, but rarely in Western art. The left hand instead holds an open scroll on which we read the prophecy of Isaiah: "Make straight the way of the Lord" cited in John 1:23. A rich halo like that of Jesus highlights the intense and "loquacious" face of John the Baptist, his sanctity and the importance of his role in the plan of the Lord who defined him as "The greatest among those born of women" (Lk 7:28): a figure for Many fascinating aspects. At the center of the scene is the impetuous Jordan River, which does not stop a few small fish swimming freely and lively against the current, as depicted in an ancient sixth-century mosaic discovered in Madaba, Jordan, last century. Since the Jordan flows into the great trench of the Dead Sea, where life is impossible due to the high salinity, the fish seek salvation by swimming against the current. The fish thus become a symbol for Christians who, to save themselves, must convert, that is, reverse the course of their lives. The water then, in a small waterfall, seems to flow down into the basilica toward the faithful. To the left of the Baptist, a group of people is ready to receive the Johannine baptism. They are elegant in appearance, dressed in brightly colored robes, and have an attitude of openness and humility. Among them, Andrew, Simon Peter's brother, is recognizable, wearing a green cloak (John 1:40), and kneeling is John the Evangelist, who narrated these events. In the other, larger group, a different atmosphere reigns: there is certainly curiosity because the figure of the Baptist was well known and his words had left an indelible mark on the community. A family also comes running to John: a woman in a red dress, stretching out her arms toward the Baptist, asking for baptism, and behind her, her husband and father, who holds his hand on his right shoulder. There is also a thoughtful Temple guard, seated in his typical white robe and cuirass, and a Pharisee, recognizable by his robes and the phylactery on his forehead. At the top right, the Temple of Jerusalem is depicted, and in front, the design of the portico that precedes the Milanese basilica is recognizable. We believe that the unique representation of this Byzantine-style, and therefore symbolic, icon should be read as an invitation to embrace the message of John the Baptist. We believe that the pictorial cycle underway, as Don Panzeri wrote in the article published by L'Osservatore Romano on April 9, will remain "an experience that inspires wonder and communicates serenity and inner joy through the contemplation not only of the wonders of creation, but also of a masterpiece of art in which artistic genius transmits a spark of creative inspiration."

THE GREAT ICON OF THE INCARNATION

The painting, "written" with typical icon techniques, was completed on a special canvas support covered with a thin layer of wood, according to the ancient rules of Byzantine painting and with the sharing, suggestions, and input of the client, Don Gianluigi Panzeri, parish priest. This necessary collaboration did not in any way diminish the artist's freedom, but rather contributed to the creation of a work that confirms the close and necessary relationship between art and theology and offers opportunities to convey a message of faith and truth through beauty. It is the first painting in a cycle planned for the decoration of the walls of the central nave, which includes six panels, on the left, that "narrate" the Gospels of the weeks of Advent and six panels with the Gospels of Lent, according to the Ambrosian liturgy. I was able to admire it first in photos and then "live." Thanks also to the presentation by the painter Iulian, I was able to "read" it in greater depth.
Presentation of the Painting Iulian's work has the typical characteristics of Byzantine art, a pictorial expression used throughout Christendom and in Italy until the advent of Giotto, only to disappear with the art of the Renaissance. Iulian's expressive methods, however, have a touch of innovation. We find, in fact, a very particular ability to insert space, imaginative architecture, movement, vivacity, sweetness in the figures' features, and a vibrant palette that gives vigor to the painting without diminishing the beauty of the moment experienced by Mary. It should also be noted that nothing is accidental or simply filling a space. Everything has been studied, thoroughly researched, and responds to very specific catechetical needs. The composition has a precise organic relationship between architecture, setting, and figures, creating a unified whole that must correctly present the event and avoid the risk of incorrect interpretation. We see a distinctive architecture that highlights an internal setting, yet is closely linked to the sky and emphasizes the participation of earth and heaven in the Event. The architectural background has characteristics that connect to ancient Roman, Eastern Byzantine, Renaissance, and modern styles. It is immediately apparent that some columns have capitals that echo those of the basilica, clearly echoed by its dome seen from the outside. Note also that the painted buildings are connected by a colored veil. According to Byzantine iconographic rules, the veil reminds us that the Event took place within the same "house." Mary is seated in a sort of alcove, with Byzantine columns, from which the veil extends to the dome of the basilica. This reminds us that the Annunciation is an event that connects the Old and New Testaments and concerns us, now and in the centuries to come. It certainly happened more than two thousand years ago, but it has a precise, enduring meaning that recalls the Incarnation of Jesus. The green color of the floor on which the wooden altarpieces at the feet of Mary and the angel rest recalls the chromatic theme of Vanni Rossi's fresco, which can be admired in the Basilica's presbytery apse. At the top center, a blue ray is painted resting on Mary and has two circles, symbolizing the Father and the Holy Spirit. The color chosen to depict the breath of the Holy Spirit is linked to the blue of the stained glass windows decorating the upper part of the walls of the central nave. Notice on the left a figure with a long, curly beard. It is the prophet Isaiah, looking out of a window and unrolling a scroll with the inscription: The Virgin will conceive and bear a son..., as she prophesied (Isaiah 7:14). In front of Mary, the Archangel Gabriel appears, elegantly dressed in white. On the right arm, which points to Mary, a prominent red band recalls the robes of the Community's patron saints, Nereus and Achilleus, as depicted by Vanni Rossi. These saints now live in the same world as the angels. Her greeting, "Ave Maria," written in Greek, can be read on the scroll resting on a piece of furniture holding prayer rolls, a sign that prayer was a habit for Mary. Notice the particular intensity of her posture: the archangel's gesture is confident, serious, yet joyful, aware that his announcement marks the beginning of God's plan. On her feet are golden sandals, appropriate to her role. She has wings, with feathers marked by rich colors, which seem to have been allowed to "land" softly, but if we look closely, we can see that the wings form a large "G," the initial syllable of Jesus' name. But let's come to Mary, an elegant and gentle figure dressed in purple, the royal color. She has a troubled attitude marked by the gesture of her right hand, but already on the right Iulian has painted a scroll with the inscription: Behold, I am the handmaid of the Lord, as the Gospel of Luke tells us (1:38). Mary, the woman of the "yes" who changed the fate of the world, has three stars on her dress, on her shoulders and on the veil on her head, a symbolic decoration that we usually find in icons. They are an ancient Syriac symbol of virginity that was embroidered on the wedding veil of princesses. For Christians, the stars have taken on a new meaning: Mary's chastity and her perpetual virginity before, during and after giving birth. Likewise, they are a reference to the Trinity, which is why it is easy to find in many icons that the figure of Jesus in Mary's arms covers one of the stars. To Mary's right is placed on the ground a vase with white lilies. It is a symbol of purity, rectitude, faith and holiness, usually represented in paintings from the late Middle Ages until today.

BACK WALL OF THE ALTAR

The back wall is dominated by the depiction of the first apparition of Our Lady to the three shepherd children, which took place on May 13, 1917, in Fatima. The scene is framed by the first Joyful Mystery: the Annunciation of the Angel Gabriel to Mary, which recalls the profound connection between the beginning of the Redemption and the message of hope conveyed at Fatima.

At the centre of the altarpiece, the words of Lucia, one of the three visionaries, report the moment of the apparition:
“Above the top of a small holm oak I saw a Lady dressed in white, brighter than the sun.”

And the words of the Virgin also resonate:
“Recite the Rosary every day to obtain peace in the world and the end of war.”

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RIGHT SIDE: THE JOYFUL MYSTERIES

Thus the Rosary with its 15 mysteries became the theme of the pictorial cycle of the Chapel: the first of the five joyful mysteries , the Annunciation of the Archangel Gabriel to Mary, is painted on the back wall to frame the image of the apparition of the Madonna in 1917.

The remaining four joyful mysteries unfold along the right wall.
In order starting from the right we find:

-The visit of the Blessed Virgin Mary to Saint Elizabeth
-The birth of Jesus in Bethlehem
-The presentation of Jesus at the Temple by Mary and Joseph
-Twelve-Year-Old Jesus Among the Doctors, The Finding of Jesus in the Temple. (Here, in an affectionate detail, the painter Vanni Rossi portrayed himself as the man leaning against a tree.)

LEFT SIDE: THE PAINFUL MYSTERIES

The Sorrowful Mysteries are found in the stained glass windows:
1. Jesus in the Garden of Olives
2. The flagellation
3. The Crowning with Thorns
4. The climb to Calvary
5. The Crucifixion – depicted in the centre of the back wall:
-Maria, with her arms open like a chalice
-Saint John the Evangelist (left)
-La Maddalena (right)
-The good thief looking up to the sky with an angel behind him
-The bad thief with his hands down and the devil behind him.

Above the scene, on the vault, the Shroud is painted, supported by angels.

The five Sorrowful Mysteries are frescoed on the left between the stained-glass windows: Jesus praying in the Garden of Olives; Jesus being scourged at the pillar; Jesus crowned with thorns; Jesus carrying the cross to Mount Calvary; while the fifth mystery, the death of Jesus on the cross, is on the back wall: at the foot of the cross is the Madonna with her arms outstretched almost as if to form a chalice to collect her Son's blood, Saint John the Evangelist is on the left, while the Magdalene is on the right; the good thief has his hands raised to heaven with an angel behind him, the bad thief has his hands raised downward with the devil behind him. On the vault, in exergue of the crucifixion, the cloth of the Shroud is depicted being held by angels.

The death of Jesus on the Cross

The back wall depicts the death of Jesus on the cross. At the foot of the Crucifix, the Madonna, with her arms outstretched in a gesture reminiscent of a chalice, seems to collect her Son's blood in an act of profound participation in his sacrifice. To her left is Saint John the Evangelist, while to the right of the cross is Mary Magdalene.

The good thief, with his hands raised toward heaven, is accompanied by an angel behind him, a symbol of redemption and salvation. Conversely, the bad thief has his hands raised downward, with the devil behind him, a symbol of his damnation.

On the vault, in exergue to the Crucifixion, the Shroud of Turin is depicted, supported by angels, as a sign of the mystery of the Passion and Resurrection.

QUEEN OF PEACE

CEILING: THE GLORIOUS MYSTERIES

On the vault of the chapel, in softer and more delicate colors, are frescoed the five Glorious Mysteries of the Rosary: the Resurrection of Jesus, his Ascension into Heaven, the descent of the Holy Spirit at Pentecost, the Assumption of the Virgin Mary, and finally the Coronation of Mary as Queen of the angels and saints in Paradise.

This last mystery, placed directly above the altar, shows on the right the holy men – with Adam depicted in the corner – and on the left the holy women, with Eve in the opposite corner.

A discreet inscription, placed on the vault, commemorates the benefactor who made the work possible:
“The frescoes on this ceiling were created thanks to the generous generosity of Dr. Angelo Dino Campanini.”

ENTERING ON THE LEFT: WORLD WAR II

On the left wall, around the stained-glass window, a dramatic page of history unfolds, dedicated to the Second World War. The mushroom cloud, Death with a scythe, scenes of destruction caused by a bomb explosion, and faces marked by suffering and death appear. Below the window, a clear reference to concentration camps. To the left of the stained-glass window, Vanni Rossi depicts Cain—painted green, a symbol of envy and rage—in the act of killing Abel, at the height of a fratricidal quarrel.

A child, a symbol of innocence—like that of the three shepherds of Fatima—looks in dismay at the images of horror, asking himself an eternal question: will there always be war in the world, always fighting between brothers? In those same years, Salvatore Quasimodo wrote: "You are still the one with the stone and the sling, a man of my time."

The child's face is turned toward the stained glass window, where the inscription "Regina Pacis, ora pro nobis" stands out. Here the meaning of the votive offering is clearly revealed: the dedication of the Chapel to Our Lady of Fatima, as a plea for peace in a time marked by destruction.

AUXILLIUM CHRISTIANORUM

MATER CHRISTI

HOLY MARY

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AUXILIUM CHRISTIANORUM

MATER CHRISTI

CONSOLATRIX AFFLICTORUM

QUEEN OF PEACE

MATER DIVINAE GRATIAE

REFUGIUM PECCATORUM

MORNING STAR

QUEEN OF MARTIRUM

SEDES SAPIENTIAE

MATER CREATORIS

HOLY MARY

QUEEN VIRGO VIRGINUM

The Holy Martyrs and Patrons: Nereus and Achilleus - Olga Grandi Dell'Orto

St. Agatha and St. Lucy - Oil on canvas, 16th century

Commemorative plaque

Holy Spirit

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Stained glass window in memory of Angelo Fumagalli

Oil on canvas Holy Curé of Ars, John Mary Vianney, patron saint of parish priests - Chapel dedicated to the Holy Curé of Ars

Chapel dedicated to the Holy Curé of Ars, John Mary Vianney, patron saint of parish priests, depicted on the altarpiece, an oil painting from 1940 by G. Fossambroni, a gift from the parish priests of Milan to Monsignor Guido Augustoni.

Stained glass window in memory of Teresa and Giuseppe Ferrari

Triptych of St. Rita of Cascia, the Holy Family and St. Anthony of Padua

Stained glass window in memory of Volpi - Vegetti

St. Charles Borromeo - Painting

Stained glass window in memory of Andrea Bottini

Stained glass window in memory of the Garzoli family

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%3Cb%20class%3D%22title%22%3EBAPTISTERY%20-%20The%20Baptismal%20Font%3C%2Fb%3E%3Cbr%2F%3E%3Cbr%20%2F%3EAt%20the%20center%20of%20the%20Baptistery%20is%20the%20octagonal%20baptismal%20font%20made%20of%20pink%20Baveno%20granite%2C%20within%20which%20the%20basin%20is%20carved.%20The%20following%20inscription%20is%20engraved%20in%20capital%20letters%20on%20the%20upper%20edge%20of%20the%20font%3A%3Cbr%20%2F%3E%20%0AILLA%20SILOE%20NATATORIA%20AD%20QUAM%20ILLE%20MITTITUR%20CAECUS%20NIL%20ALIUD%20NISI%20FONS%20SACER%20SIGNATUS%20EST%3Cbr%20%2F%3E%20%0A%28%22That%20is%20the%20pool%20of%20Siloam%20to%20which%20the%20man%20born%20blind%20was%20sent%20by%20Jesus%3A%20it%20is%20nothing%20else%20but%20the%20sacred%20font%2C%20marked%20%5Bby%20the%20Lord%5D%22%29.%3Cbr%20%2F%3E%20The%20reference%20is%20to%20the%20passage%20from%20the%20Gospel%20of%20John%209%3A1-7%2C%20which%20recounts%20the%20miracle%20of%20Jesus%20giving%20sight%20to%20a%20man%20born%20blind%2C%20sending%20him%20to%20wash%20in%20the%20Pool%20of%20Siloam.%20The%20blind%20man%20symbolically%20represents%20one%20who%20lacks%20faith%3B%20the%20water%20of%20Baptism%E2%80%94the%20sacrament%20of%20faith%E2%80%94gives%20spiritual%20sight%20to%20those%20born%20blind.%3Cbr%20%2F%3E%20%0AFor%20this%20reason%2C%20St.%20Ambrose%20and%20St.%20Augustine%20define%20Baptism%20as%20the%20%E2%80%9Csacrament%20of%20enlightenment.%E2%80%9D%3Cbr%20%2F%3E%20The%20water%20in%20the%20font%20is%20protected%20by%20a%20shaped%20copper%20cover%2C%20which%20opens%20on%20one%20side%20to%20allow%20the%20administration%20of%20Baptism%20to%20children.%20Above%20the%20font%20hangs%20a%20large%20copper%20chandelier%2C%20also%20octagonal%20in%20shape.%3Cbr%20%2F%3E%20Lifting%20the%20wooden%20predella%20surrounding%20the%20font%2C%20one%20discovers%20what%20today%20is%20only%20a%20symbolic%20reference%20to%20the%20basin%2Fpool%20that%2C%20in%20ancient%20times%2C%20served%20for%20the%20baptism%20of%20adults.%20Adults%20descended%20into%20the%20water%20via%20three%20or%20four%20steps%20%28as%20can%20also%20be%20seen%20in%20the%20two%20ancient%20baptisteries%20in%20Milan%20mentioned%20above%29%2C%20a%20reminder%20that%20John%20the%20Baptist%2C%20Jesus%2C%20and%20the%20Apostles%20baptized%20those%20who%20converted%20to%20the%20faith%20in%20the%20Jordan%20River%20or%20wherever%20there%20were%20watercourses.%3Cbr%20%2F%3E%20It%20should%20be%20remembered%20that%20Baptism%20is%20the%20sacrament%20of%20faith.%20The%20first%20baptisteries%20were%20built%20only%20in%20the%204th%20century.%20After%20the%20year%201000%2C%20since%20there%20were%20almost%20no%20adults%20left%20to%20baptize%20in%20Europe%2C%20children%20continued%20to%20be%20baptized%E2%80%94as%20had%20already%20been%20the%20case%E2%80%94but%20the%20practice%20of%20asking%20parents%20this%20question%20was%20introduced%3A%3Cbr%20%2F%3E%20%0A%22By%20requesting%20Baptism%20for%20your%20child%2C%20you%20are%20committing%20to%20raising%20him%20in%20the%20faith%2C%20so%20that%20he%20may%20learn%20to%20love%20God%20and%20neighbor%2C%20as%20Christ%20taught%20us.%20Are%20you%20aware%20of%20your%20responsibility%3F%22

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The crowd that flocks to see the event

The Holy Family

Hell

Plan of the Chapel of Our Lady of Fatima

St. Nereus

St. Achilleus

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The Death of Saint Joseph

Description and iconographic analysis

The scene takes place in an intimate setting, likely a room of humble masonry, illuminated by a supernatural light coming from the upper left. The center of the composition is occupied by the dying Saint Joseph , lying on a bed, his gaze turned toward the adult Jesus , who gently supports him, pointing to heaven. At the foot of the bed, kneeling in prayer, is an angel; to Joseph's right, the Virgin Mary , with an expression of composed grief and a gesture of comfort.

Behind them, in an ethereal and elevated position, another angel observes the scene, his hands clasped in prayer and a feeling of emotion. All the main figures have a luminous halo around their heads, indicating their sanctity.

Composition and painting technique

Pyramidal composition , which starts from the bottom (the kneeling angel), widens with the bed and the characters and culminates in the figure of Jesus and the divine light.
The warm, golden colors suggest an atmosphere of peace and transcendence, with a golden light symbolizing the divine presence.
The soft draperies, the sweet expressions and the attention to anatomical details recall an academic school, with influences from late Romanticism or nineteenth-century devotional painting.
The oil technique is used with soft shades and tonal transitions that give realism and emotional delicacy to the scene.

Theological and spiritual meaning

The scene depicts a serene and sanctified death , accompanied by the presence of Jesus and Mary, who symbolize Christian grace and consolation. It is a devotional image intended to inspire confidence in the passage from life to death for those who live by faith. Saint Joseph, traditionally invoked as the patron of a "happy death," is shown here in his passing surrounded by those he loves most, emphasizing the dignity and serenity of Christian dying.

The Annunciation

The Adoration of the Magi

Saint Anthony the Abbot among the Animals - Oil on Canvas

Description and iconographic analysis

At the center of the composition stands the figure of Saint Anthony the Abbot , one of the most venerated hermit saints in Christianity, the protector of domestic animals and the founder of Christian monasticism. He is portrayed full-length , with a flowing white beard, a serene face, and a benedictory gaze directed at the viewer. With his right hand he imparts a blessing, while with his left he holds his characteristic Tau-shaped staff , surmounted by a small cross.

Around him, in perfect harmony, are a multitude of farmyard and stable animals : dogs, chickens, ducks, sheep, a horse, an ox, a donkey, a billy goat, a cow, and a goat. The animals do not appear agitated, but rather drawn to the figure of the saint, in an atmosphere of spiritual peace. The fire lit at the saint's feet recalls the iconographic element of "St. Anthony's fire," a symbol of the fight against temptation and the skin diseases the saint was invoked to cure.

Behind him, a mountainous landscape opens up at sunset , with warm, nuanced colours, which gives a sense of natural sacredness to the entire scene.

Composition and painting style

Symmetrical composition , with the saint at the centre, in a frontal and hieratic position, surrounded by animals converging towards him as if in an act of veneration.
The white aura around the head of Saint Anthony confirms his holiness.
The style is figurative and traditional , characterised by a realistic rendering of volumes and anatomical details, but with idealising tones in the rendering of the face and in the light.
The artist, Giuseppe Bordoni , works in a clearly academic manner, using warm tones and soft brushstrokes to make a devotional scene easily readable by the public.

Theological and symbolic meaning

This work is a perfect example of popular hagiographic iconography : Saint Anthony is shown not only as an anchorite, but above all in his role as protector of animals , guardian of rural life and peasant traditions. His blessing ideally embraces all of creation, representing the harmonious relationship between man, nature, and the divine .

Fire, an ambivalent symbol of purification and temptation, evokes the flames of disease and evil from which the saint protects. Animals, usually associated with peasant survival, are sanctified here by its presence, recalling the blessings of January 17th , the saint's liturgical feast.

The Holy Spirit above the altar - Ceiling

The view from the altar

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Annunciation

360° Panoramic View of Milan from the Basilica of Saints Nereus and Achilleus

The Basilica of Saints Nereus and Achilleus in the film Miracle in Milan

In several shots of Vittorio De Sica's film Miracle in Milan (shot between February and June 1950), the Basilica of Saints Nereus and Achilleus is recognizable in the background of scenes filmed in the area of what is now the Lambrate neighborhood. The sacred building emerges as a stable point of reference among the slums and urban landscapes suspended between realism and poetry, unwittingly becoming part of the cinematic narrative and a silent witness to postwar Milan.

The shanty town scene, the heart of the story, was reconstructed right in Via Valvassori Peroni [Lambrate - behind the Basilica]

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Basilica of the Holy Martyrs Nereus and Achilleus - Milan

THE TEMPTATIONS

Iconography at the entrance

ICON OF THE SAMARITAN WOMAN

THE BAPTISTERY - Construction

THE BAPTISTERY - External Structure

THE GREAT ICON OF ABRAHAM'S SUNDAY

THE BAPTISTERY - Interior

THE BAPTISTERY - The Baptismal Font - PHOTO

THE MIRACLE OF THE HEALING OF THE MAN BORN BLIND

THE GREAT ICON OF THE RESURRECTION OF LAZARUS

THE BAPTISTERY - Iconography of the Dome

THE BAPTISTERY - Iconography of the triumphal arch and the altarpiece

THE GREAT ICON OF THE ANOINTING OF JESUS IN THE HOUSE OF LAZARUS, MARTHA, AND MARY IN BETHANY

THE BAPTISTERY - The fresco on the right wall: The Resurrection

THE BAPTISTERY - The fresco on the left: St. Ambrose baptizing St. Augustine

THE BAPTISTERY - The fresco on the counterfaçade: St. Alfred receiving the relics

FIRST SUNDAY OF ADVENT THE COMING OF THE LORD

SECOND SUNDAY OF ADVENT THE CHILDREN OF THE KINGDOM

GENERAL INTRODUCTION TO THE CHAPEL

THIRD SUNDAY OF ADVENT: PROPHECIES FULFILLED

THE TRIUMPHAL ENTRY OF JESUS INTO JERUSALEM

THE GREAT ICON OF THE PRECURSOR JOHN THE BAPTIST

THE GREAT ICON OF THE INCARNATION

BACK WALL OF THE ALTAR

HISTORY

CENTRAL NAVE

LOBBY

INTERNAL

APSE AND PRESBYTERY

SIDE AISLES

RIGHT SIDE: THE JOYFUL MYSTERIES

LEFT SIDE: THE PAINFUL MYSTERIES

ENTERING ON THE RIGHT: CONTEMPORARY ECCLESIASTICAL SCENE

The death of Jesus on the Cross

QUEEN OF PEACE

CEILING: THE GLORIOUS MYSTERIES

ENTERING ON THE LEFT: WORLD WAR II

AUXILLIUM CHRISTIANORUM

MATER CHRISTI

HOLY MARY

CHAPEL ATRIUM: THE EVENTS OF FATIMA

AUXILIUM CHRISTIANORUM

MATER CHRISTI

CONSOLATRIX AFFLICTORUM

QUEEN OF PEACE

MATER DIVINAE GRATIAE

REFUGIUM PECCATORUM

MORNING STAR

QUEEN OF MARTIRUM

SEDES SAPIENTIAE

MATER CREATORIS

HOLY MARY

QUEEN VIRGO VIRGINUM

IF CHRIST HAD NOT RISEN, OUR FAITH WOULD BE IN VAIN

The Saints

The Saints

The Saints

The Saints

The Saints

The Saints

The Holy Martyrs and Patrons: Nereus and Achilleus - Olga Grandi Dell'Orto

St. Agatha and St. Lucy - Oil on canvas, 16th century

Commemorative plaque

Commemorative plaque

Holy Spirit

Stained glass window in memory of the Villani spouses

PAX

Stained glass window in memory of Angelo Fumagalli

Oil on canvas Holy Curé of Ars, John Mary Vianney, patron saint of parish priests - Chapel dedicated to the Holy Curé of Ars

Stained glass window in memory of Teresa and Giuseppe Ferrari

Triptych of St. Rita of Cascia, the Holy Family and St. Anthony of Padua

Stained glass window in memory of Volpi - Vegetti

St. Charles Borromeo - Painting

Stained glass window in memory of Andrea Bottini

Stained glass window in memory of the Garzoli family

BAPTISTERY - Iconography of the Dome

THE BAPTISTERY - Iconography of the triumphal arch and the altarpiece - PHOTO

BAPTISTERY - The Baptismal Font

The crowd that flocks to see the event