The Portiuncula ( Italian : Porziuncola ) is a historic chapel in the town of Santa Maria degli Angeli , near Assisi , Italy. It is closely associated with Francis of Assisi and the Order of Friars Minor , who used the chapel as their headquarters. Following Francis's death in 1226, it became an important pilgrimage site. In the 16th century, a vast basilica, the Basilica of St Mary of the Angels , was built around the Portiuncula.
56-582: According to a legend, whose existence can be traced back with certainty only to 1645, the little chapel of Portiuncula was erected under Pope Liberius (352–366) by hermits from the Valley of Josaphat , who had brought relics from the grave of the Virgin Mary . The same legend says that the chapel passed into the possession of Benedict of Nursia in 516. It was known as Our Lady of the Valley of Josaphat or of
112-648: A Deposition for the Florentine convent of Santa Chiara ( Palazzo Pitti ). Toward 1496 he frescoed a crucifixion, commissioned in 1493 for Maria Maddalena de' Pazzi , Florence (the Pazzi Crucifixion ). The attribution to him of the painting of the marriage of Joseph and the Virgin Mary (the Sposalizio ) now in the museum of Caen , which indisputably served as the original, to a great extent, of
168-727: A conciliabulum held in Arles to subscribe against his will to a condemnation of the orthodox patriarch of Alexandria . Constantius was sympathetic to the Arians , and when he could not persuade Liberius to his point of view sent the pope to a prison in Beroea. At the end of an exile of more than two years in Thrace , after which it seems he may have temporarily relented, or been set up to appear to have relented – partially evidenced by three letters, quite possibly forgeries, ascribed to Liberius,
224-583: A " patriarchal basilica and papal chapel". The high altar was therefore immediately rebuilt at the expense of the Franciscan province of the Holy Cross (also known as the Saxon province), and a papal throne added. Under the bay of the choir, resting against the columns of the cupola, is still preserved the cell in which St Francis died, while, a little behind the sacristy, is the spot where the saint, during
280-800: A 78% scale copy of the original chapel in a former gymnasium adjoining the Church of the National Shrine of St. Francis of Assisi in the city's North Beach District. It opened in September 2008, and in 2010 was placed under the care of the Capuchin Franciscan friars of the Western American Province. Other replicas exist within the United States of America including: In addition, the city of Los Angeles
336-526: A few small huts or cells of wattle, straw, and mud, and enclosed by a hedge. The General Chapters, the annual meetings of the friars, were held in this church usually during Pentecost (months of May – June). Feeling his end approaching, St Francis asked to be brought back to the Portiuncula in September 1226. On his death-bed St Francis recommended the chapel to the faithful protection and care of his brethren. He died, in his cell, not fifteen yards from
392-644: A plenary indulgence on 2 August (the Portiuncula) or on such other day as designated by the local ordinary for the advantage of the faithful, under the usual conditions (sacramental Confession, Holy Communion, and prayer for the intentions of the Supreme Pontiff), by devoutly visiting the parish church, and there reciting at least the Lord's Prayer and the Creed. The Indulgence applies to the cathedral church of
448-725: A saint in the Roman Martyrology . That makes him the earliest pontiff not to be venerated as a saint in the Catholic Church and, along with Anastasius II , one of only two popes to be omitted from Catholic sainthood in the first 500 years of church history. Liberius is mentioned in the Greek Menology, the Eastern equivalent to the martyrologies of the Western Church and a measure of sainthood prior to
504-535: A scholastic tract defending this indulgence about 1279), John of Laverna , Ubertino da Casale , and Francis of Fabriano (whose testimony goes back to the year 1268). Later popes extended the privilege to all churches pertaining in any way to the Franciscan Order, even to churches in which the Third Order held its meetings (even parish churches, etc.), provided that there was no Franciscan church in
560-568: A scroll entitled Timete Deum (Fear God: Revelation 14:7). That an open disbeliever should inscribe himself with Timete Deum seems odd. The portrait in question shows a plump face, with small dark eyes, a short but well-cut nose, and sensuous lips; the neck is thick, the hair bushy and frizzled, and the general air imposing. The later portrait in the Cambio of Perugia shows the same face with traces of added years. Perugino died with considerable property, leaving three sons. In 1495, he signed and dated
616-576: A space for Michelangelo 's Last Judgement . Between 1486 and 1499, Perugino worked mostly in Florence, making one journey to Rome and several to Perugia, where he may have maintained a second studio. He had an established studio in Florence, and received a great number of commissions. His Pietà (1483–1493) in the Uffizi is an uncharacteristically stark work that avoids Perugino's sometimes too easy sentimental piety. According to Vasari , Perugino
SECTION 10
#1732772560869672-599: A temptation, is said to have rolled in a briar-bush, which was then changed into thornless roses. During this same night the saint received the Portiuncula Indulgence. Franciscans continue to celebrate the feast of Our Lady of the Angels of the Porzioncula on August 2, which marks the dedication of the church. The Portiuncula Indulgence could at first be gained only in the Portiuncula chapel between
728-440: Is falling into ruins". Francis took this literally to mean the ruined church in which he was presently praying, and so sold his horse and some cloth from his father's store, to assist the priest there for this purpose. His father Pietro, highly indignant, sought restitution. After a final interview in the presence of the bishop, Francis renounced his father and his patrimony, laying aside even the garments he had received from him. For
784-525: Is sometimes referred to as the Liberian Basilica. Pietro Vannucci Pietro Perugino ( US : / ˌ p ɛr ə ˈ dʒ iː n oʊ , - r uː ˈ -/ PERR -ə- JEE -noh, -oo- ; Italian: [ˈpjɛːtro peruˈdʒiːno] ; born Pietro Vannucci or Pietro Vanucci ; c. 1446/1452 – 1523), an Italian Renaissance painter of the Umbrian school, developed some of
840-792: Is the tondo (circular picture) in the Musée du Louvre of the Virgin and Child Enthroned between Saints . Perugino returned from Florence to Perugia, where his Florentine training showed in the Adoration of the Magi for the church of Santa Maria dei Servi of Perugia ( c. 1476 ). In about 1480, he was called to Rome by Sixtus IV to paint fresco panels for the Sistine Chapel walls. The frescoes he executed there included Moses and Zipporah (often attributed to Luca Signorelli ),
896-805: The Baptism of Christ , and Delivery of the Keys . Pinturicchio accompanied Perugino to Rome, and was made his partner, receiving a third of the profits. He may have done some of the Zipporah subject. The Sistine frescoes were the major high Renaissance commission in Rome. The altar wall was also painted with the Assumption , the Nativity , and Moses in the Bulrushes . These works were later destroyed to make
952-583: The Annunziata Altarpiece for the high altar of the Basilica dell'Annunziata in Florence, in which he replaced Filippino Lippi . The work was a failure, being accused of lack of innovation. Perugino lost his students; and toward 1506 he once more and finally, abandoned Florence, going to Perugia, and thence in a year or two to Rome. Pope Julius II had summoned Perugino to paint the Stanza of
1008-689: The Council of Rimini (359). The return of the Pope from exile was met with joy from the Roman people but it was also met with criticism. The writer Philostorgius says that the Pope Liberius was restored to papacy only after he signed the Second Creed of Sirmium, and although Sozomen claimed that this story was a lie, Hilary of Poitiers reacted by writing concerning the pope: "I know not whether it
1064-568: The Incendio del Borgo in the Vatican City ; but he soon preferred a younger competitor, Raphael , who had been trained by Perugino; and Vannucci, after painting the ceiling with figures of God the Father in different glories, in five medallion-subjects, retired from Rome to Perugia from 1512. Among his latest works, many of which decline into repetitious studio routine, one of the best is
1120-541: The Victoria and Albert Museum . He was still at Fontignano in 1523 when he died of the plague . Like other plague victims, he was hastily buried in an unconsecrated field, the precise spot now unknown. Vasari is the main source stating that Perugino had very little religion and openly doubted the soul's immortality. Perugino in 1494 painted his own portrait, now in the Uffizi Gallery , and into it, he introduced
1176-635: The Virgin between Saint Jerome and Saint Francis , now in the Palazzo Penna. In the church of S. Onofrio in Florence is a much lauded and much debated fresco of the Last Supper, a careful and blandly correct but uninspired work; it has been ascribed to Perugino by some connoisseurs, by others to Raphael ; it may more probably be by some different pupil of the Umbrian master. Among his pupils were Raphael, upon whose early work Perugino's influence
SECTION 20
#17327725608691232-461: The Angels – the latter title referring, according to some, to the assumption of Mary accompanied by angels; a better-founded opinion attributes the name to a legend attesting to the singing of angels which had been frequently heard there. The chapel was located on a small portion of land ("Portiuncula") belonging to the Order of Saint Benedict of Monte Subasio . Later, the name of the land passed to
1288-531: The Disciplinati of Città della Pieve is an Adoration of the Magi , a square of 6.5 m containing about thirty life-sized figures; this was executed, with scarcely credible celerity, from March 1 to 25 (or thereabouts) in 1505, and must no doubt be in great part the work of Vannucci's pupils. In 1507, when the master's work had for years been in a course of decline and his performances were generally weak, he produced, nevertheless, one of his best paintings,
1344-458: The Latin words Haec est porta vitae aeternae ("This is the gate to eternal life"). The outside wall to the right of the entrance shows fragments of two frescoes by unknown Umbrian artists. In the 19th century a door was opened in the same wall, to control the flow of pilgrims. The left outside wall includes the tombstone of Pietro Cattani , who died on 10 March 1221. (St Francis was still alive at
1400-613: The Pope. In his 1920 encyclical Principi Apostolorum Petro , Pope Benedict XV noted that Pope Liberius went fearlessly into exile in defence of the orthodox faith. In the Eastern Orthodox Church, Liberius is a saint whose feast is celebrated on 27 August. In Coptic Christianity , the Departure of St Liberius the Bishop of Rome is commemorated on 4 Pi Kogi Enavot . The Basilica di Santa Maria Maggiore in Rome
1456-399: The afternoon of 1 August and sunset on 2 August. On 5 August 1480 (or 1481), Pope Sixtus IV extended it to all churches of the first and second orders of St Francis for Franciscans. On 4 July 1622, Gregory XV extended the privilege to all the faithful, who, after confession and the reception of Holy Communion, visited such churches on the appointed day. On 12 October 1622, Gregory XV granted
1512-453: The aisles, was completed (1569–78) according to the plans of Giacomo Barozzi da Vignola , assisted by Galeazzo Alessi . In the night of 15 March 1832, the arch of the three naves and of the choir fell in, in consequence of an earthquake, the cupola sporting a big crack. Gregory XVI had all restored in 1836-1840, and on 8 September 1840 the basilica was reconsecrated by Cardinal Lambruschini. By Brief of 11 April 1909, Pope Pius X raised it to
1568-486: The church, at sunset on Saturday, 3 October 1226. However this may be, here or in this neighbourhood was the cradle of the Franciscan Order. After the death of Francis, the spiritual value and the charisma of the Portiuncula became even greater. St Francis himself pointed out the Portiuncula as a primary source of inspiration and a model for all his followers. Shortly after 1290, the chapel, which measured only about 5.5 by 3.2 m, became entirely inadequate to accommodate
1624-495: The date to 1479. According to Vasari, he was apprenticed to the workshop of Andrea del Verrocchio alongside Leonardo da Vinci , Domenico Ghirlandaio , Lorenzo di Credi , Filippino Lippi , and others. Piero della Francesca is thought to have taught him perspective form. In 1472, he must have completed his apprenticeship since he was enrolled as a master in the Confraternity of St Luke . Pietro, although very talented,
1680-557: The death of the Emperor Constantius in 361, Liberius annulled the decrees of that assembly but, with the concurrence of bishops Athanasius and Hilary of Poitiers , retained the bishops who had signed and then withdrew their adherence. In 366, Liberius gave a favourable reception to a deputation of the Eastern episcopate, and admitted into his communion the more moderate of the old Arian party. He died on 24 September 366. Some historians have postulated that Liberius resigned
1736-498: The diocese, and to the co-cathedral church (if there is one), even if they are not parochial, and also to quasi-parochial churches. To gain this, as any plenary indulgence, the faithful must be free from any attachment to sin, even venial sin. Where this entire detachment is wanting, the indulgence is partial. In San Francisco, California, there is a replica of the Portiuncula Chapel. The Archdiocese of San Francisco built
Portiuncula - Misplaced Pages Continue
1792-581: The district, and that such a church was distant over an Italian mile (1000 paces). Even districts and countries could receive special privileges. Pope Paul VI completely reformed the grants of indulgences, after the Second Vatican Council . His Apostolic Constitution Indulgentiarum Doctrina (1967) yet again confirmed the Portiuncula Indulgence. According to the Enchiridion Indulgentiarum , Catholic faithful may gain
1848-483: The emperor recalled him under extreme pressure from the Roman population who refused to recognize his puppet, Felix II . As the Roman See was "officially" occupied by Felix, a year passed before Liberius was sent to Rome. It was the emperor's intention that Liberius should govern the Church jointly with Felix, but on the arrival of Liberius, Felix was expelled by the Roman people. Neither Liberius nor Felix took part in
1904-568: The extensive altarpiece (painted between 1512 and 1517) of the church of San Agostino in Perugia, also now dispersed. Perugino's last frescoes were painted in the church of the Madonna delle Lacrime in Trevi (1521, signed and dated), the monastery of Sant'Agnese in Perugia, and in 1522 for the church of Castello di Fortignano. Both series have disappeared from their places, the second being now in
1960-589: The façade, above the entrance outside, is a fresco by Johann Friedrich Overbeck (1829), depicting St Francis receiving from Christ and the Virgin the indulgence, known as the "Pardon of Assisi". The German painter Overbeck was a member of the Nazarene movement , a group of painters who aimed to revive honesty and spirituality in Christian art. At the base of this fresco is a small rectangular fresco beneath which are
2016-410: The institution of the formal Western processes of canonization . The first recorded act of Liberius was, after a synod had been held at Rome , to write to Emperor Constantius II , then in quarters at Arles (353–354), asking that a council might be called at Aquileia with reference to the affairs of Athanasius of Alexandria , but his messenger Vincentius of Capua was compelled by the emperor at
2072-497: The little church itself. It was in bad condition, lying abandoned in a wood of oak trees. After a pilgrimage to Rome, where he begged at the church doors for the poor, Francis said he had had a mystical vision of Jesus Christ in the wayside chapel of San Damiano, about two miles outside of Assisi, in which the Icon of Christ Crucified came alive and said to him three times, "Francis, Francis, go and repair My house which, as you can see,
2128-638: The masterpiece of the Madonna and Saints for the Certosa of Pavia , now disassembled and scattered among museums: the only portion in the Certosa is God the Father with cherubim . An Annunciation has disappeared; three panels, the Virgin adoring the infant Christ, St. Michael, and St. Raphael with Tobias are among the treasures of the National Gallery, London . This was succeeded in 1504–1507 by
2184-514: The next couple of months he lived as a beggar in the region of Assisi. Returning to the town for two years this time, he restored several ruined churches, among them the Portiuncula, little chapel of St Mary of the Angels, just outside the town. Francis built himself a small hut near the Chapel of Our Lady of the Angels and was soon joined by others. Here he founded the Franciscans . Around 1211
2240-625: The old legends of St Francis mentions the Indulgence, nor does any contemporary document mention it. The oldest document mentioning the Indulgence is a notary's deed of 31 October 1277, in which Blessed Benedict of Arezzo (whom St Francis himself received into the order) testifies that he had been informed by Brother Masseo (a companion of St Francis) that Pope Honorius III granted the indulgence at Perugia. Later testimonies include those of Jacob Cappoli concerning Brother Leo , of Oddo of Acquasparta , Peter Zalfani , Peter John Olivi (who wrote
2296-611: The painting of the vault, showing the seven planets and the signs of the zodiac (Perugino being responsible for the designs and his pupils most probably for the execution), and the representation on the walls of two sacred subjects: the Nativity and Transfiguration ; in addition, the Eternal Father, the cardinal virtues of Justice, Prudence, Temperance, Fortitude, Cato as the emblem of wisdom, and numerous life-sized figures of classic worthies, prophets, and sibyls figured in
Portiuncula - Misplaced Pages Continue
2352-534: The papacy in 365, in order to make sense of the pontificate of Felix II, who has since been regarded as an antipope . Pope Pius IX noted in his 1863 encyclical Quartus supra that Liberius was falsely accused by the Arians and he had refused to condemn Athanasius of Alexandria . However, Athanasius said that Pope Liberius condemned him after the Emperor Constantius II threatened to kill
2408-554: The program. On the mid-pilaster of the hall Perugino placed his own portrait in bust-form. It is probable that Raphael , who in boyhood, toward 1496, had been placed by his uncles under the tuition of Perugino, bore a hand in the work of the vaulting. Perugino was made one of the priors of Perugia in 1501. On one occasion Michelangelo told Perugino to his face that he was a bungler in art ( goffo nell arte ): Vannucci brought an action for defamation of character, unsuccessfully. Put on his mettle by this mortifying transaction, he produced
2464-644: The qualities that found classic expression in the High Renaissance . Raphael became his most famous pupil. Pietro Vannucci was born in Città della Pieve , Umbria , the son of Cristoforo Maria Vannucci. His nickname characterizes him as from Perugia , the chief city of Umbria . Scholars continue to dispute the socioeconomic status of the Vannucci family. While certain academics maintain that Vannucci worked his way out of poverty, others argue that his family
2520-446: The saint himself while repairing this little church. It is decorated in a simple Gothic style with frescoes from the 14th and the 15th century. But the masterpiece is the six-part fresco in the apse of this little church, painted by the priest Ilario da Viterbo (1393): The pavement on the floor is now restored to its original appearance by the restorations following the earthquake of 1997. The buildings which had been gradually added to
2576-426: The same privilege to all the churches of the Capuchins . Pope Urban VIII granted it for all churches of the regular Third Order on 13 January 1643, and Clement X for all churches of the Conventuals on 3 October 1670. While papal declarations made the Portiuncula Indulgence indisputable from the juridico-canonistic standpoint, its historical authenticity (i.e. origin from St Francis) remains in question. None of
2632-409: The shrine were taken down by order of Pope Pius V (1566–1572), except the cell in which St Francis had died, and were replaced by a large basilica in contemporary style. The new edifice was erected over the cell just mentioned and over the Portiuncula chapel, which is situated immediately under the cupola. The basilica , which has three naves and a circle of chapels extending along the entire length of
2688-408: The small chapel was given to Francis by the abbot of Saint Benedict of Monte Subasio on condition of making it the mother house of his religious family. On Palm Sunday 1211 St Francis received in this church Clare of Assisi and founded the Second Order of the Poor Ladies Poor Clares . Adjoining this humble sanctuary, already dear to Francis, the first Franciscan convent was formed by the erection of
2744-406: The still more famous Sposalizio painted by Raphael in 1504 ( Brera , Milan), is now questioned, and it is assigned to Lo Spagna . A vastly finer work of Perugino's was the polyptych of the Ascension of Christ painted ca 1496–98 for the church of S. Pietro of Perugia , (Municipal Museum, Lyon ); the other portions of the same altarpiece are dispersed in other galleries. In the chapel of
2800-434: The throngs of pilgrims. The altar piece, an Annunciation , was painted by the priest Hilarius of Viterbo in 1393. The monastery was at most the residence, only for a short time, of the ministers-general of the order after St Francis. In 1415 it first became associated with the Regular Observance, in the care of which it remains to the present day. This tiny church is exquisitely decorated by artists from different periods. On
2856-413: The time of his death). At the back, above the entrance, is the fresco Crucifixion by Perugino , painted around 1485. It was badly damaged during the construction of the basilica. The 15th century door is decorated with floral motifs. On top of the Portiuncula stands a small Gothic belfry. The interior is austere and simple. Some of the rough, squared stones, taken from Mount Subasio, were put in place by
SECTION 50
#17327725608692912-412: Was (indirectly) named for it: "El Pueblo de Nuestra Señora la Reina de los Ángeles del Río de Porciúncula". See Los Angeles River for background. Pope Liberius Pope Liberius (310 – 24 September 366) was the bishop of Rome from 17 May 352 until his death. According to the Catalogus Liberianus , he was consecrated on 22 May as the successor to Julius I . He is not mentioned as
2968-457: Was among the wealthiest in the town. His exact date of birth is not known, but based on his age at death that was mentioned by Vasari and Giovanni Santi , it is believed that he was born between 1446 and 1452. Pietro most likely began studying painting in local workshops in Perugia such as those of Bartolomeo Caporali or Fiorenzo di Lorenzo . The date of the first Florentine sojourn is unknown; some make it as early as 1466-1470, others push
3024-409: Was not extremely enthusiastic about his work. Perugino was one of the earliest Italian practitioners of oil painting . Some of his early works were extensive frescoes for the convent of the Ingessati fathers, destroyed during the Siege of Florence ; he produced many cartoons for them also, which they executed with brilliant effect in stained glass . A good specimen of his early style in tempera
3080-522: Was to return to Florence in September 1493 to marry Chiara, daughter of architect Luca Fancelli . The same year, Perugino made Florence his permanent home once again, though he continued to accept some work elsewhere. In 1499, the guild of the cambio (money-changers or bankers) of Perugia asked him to decorate their audience-hall, the Sala delle Udienze del Collegio del Cambio . The humanist Francesco Maturanzio acted as his consultant. This extensive scheme, which may have been finished by 1500, comprised
3136-402: Was with greater impiety that you exiled him than that you restored him" (Contra Const., II). Some of those writers who accept the forged letters and testimonies of Arians, Semi-arians and Luciferians, concede Pope Liberius repented later for having signed the Arian Creed at Sirmium, but that he ever signed is highly doubtful on the basis of a critical examination of the original sources. After
#868131