The origins of the library and art gallery can be attributed to an Artistic-Cultural Association named "Sestium", in remembrance of the ancient name of our town. According to Don Achille Walter Alfonsi, the foundation of the association dates back to August 1950, on the eve of St. Leo’s feast, when a group of passionate friends established Sestium, a sort of cultural circle composed of young supporters who shared common ideological tendencies, aimed at achieving significant goals for the entire Saracena community. In his report contained in the booklet "The Legacy of the SESTIUM Cultural Association", Professor Pietro Napoletano identifies the official foundation of SESTIUM in August 1952. Today, a valuable collection of seventy paintings by some of the most prominent contemporary artists—such as Guttuso, Purificato, Omiccioli, Andrea Alfano, and others—as well as five remarkable sculptures, remains as testimony to its legacy. The Sestium Artistic-Cultural Association sought to foster a closer connection among the town’s citizens and was primarily dedicated to the creation of a library and an art gallery, as well as "the establishment of a drama society and the promotion of all activities aimed at enhancing cultural development among both the general population and students." Cultural movements have never been lacking in our town. One need only recall Dr. Vincenzo Forestieri, author of the famous monograph on Saracena, after whom the library has been rightfully named. Dedicating our library to this key figure in Saracena’s cultural history compels us to provide at least a brief biographical note on this distinguished person. Born in 1822, he passed away at the age of 57 in 1879. Many of his works remain unfinished or unpublished, but he is best remembered for his composition of the "Historical Monograph of the Municipality of Saracena", published in Rome in 1913. He is also credited with another significant manuscript, in which he meticulously documented the history of Saracena’s convents, particularly that of the Capuchins. Jumping forward in time to a more recent period, it is fitting to mention the scientist and poet Professor Don Vincenzo Fioravanti. This remarkable individual was born on December 6, 1876, and passed away on October 28, 1958. He was an internationally renowned botanist and a poet. We fondly remember him through the moving words of Mario Alfano, author of a monograph on Professor Fioravanti: "He was a cultured man, without a doubt, but to truly understand him, there was only one way: an examination of his papers. However, I am not aware that they, along with his books and magazines, have been preserved. One thing is certain: Professor Fioravanti was an excellent botanist, scientifically speaking. His garden was a true botanical haven. He would retreat there every afternoon to continue his favorite readings and to conduct his plant and flower studies." Our biographical gallery would not be complete without mentioning journalist, writer, poet, and painter Franco Alfano, author of several publications. It also extends to Professor Vincenzo Russo, renowned for his scientific works such as "Why Cancer Advances" and his latest achievement, the scientific novel "Cancer, Sex, and Society." The upcoming inauguration of the new municipal library and art gallery is intended as a visible testament to our Municipal Administration’s commitment to fostering cultural activity. The selected building will serve as a renewed space for managing and preserving the town’s literary and artistic heritage. A hypothetical bibliophile, exploring the library’s reading room, would not only appreciate the usefulness of the available works for academic and general reference but would also discover, alongside literary texts and encyclopedic volumes, works by local authors, valuable guidebooks on the history and culture of our territory, and rare 19th-century publications. These include writings by the Calabrian author Vincenzo Padula—born in Acri and known as a historian of folk traditions, mentioned in Professor O. Cavalcanti’s book "Subaltern Culture in Calabria"—as well as eight volumes attributed to Domenico Antonio Galdi on "Commentary on the Civil Procedure Code", four volumes of Ercole Vidari’s "Commercial Law", a linguistic manual from 1893 by Giuseppe Francini, a French grammar book from 1853 by Giuseppe Moneta, and "Letters on Protestantism" by Father Gesualdo da Cardinale. Returning to our passionate bibliophile, as he steps out of this rich world of literature and back into the daylight, he would undoubtedly feel a sense of enthusiasm after this journey through the realm of books. At this point, our discussion cannot fail to mention at least a few of the paintings and sculptures housed in the art gallery. Alongside works by local painters Andrea Alfano and Mimmo Sancineto, the collection includes a 30x40 cm oil on canvas by Tato, a wax sculpture by Emilio Greco, a 35x50 cm drawing by Renato Guttuso, an oil on canvas by Lello Mario Barresi, and a piece by the renowned Dutch painter and engraver Rembrandt. This concise overview of the main artists featured in the exhibition aims to serve as a tribute to those who have contributed to providing the entire community—and all visitors who cherish artistic expression—with a space where glimpses of creative genius have been preserved in their auroral emergence. Curated by Domenico Laurito
Chapels In the territory of Saracena, in addition to its three main churches, there are numerous chapels, some of which date back to the Byzantine era. The most significant ones include: Chapel of Santa Maria dell'Alto Cielo or Ara Coeli: Dating back to the 12th century, located in the San Pietro district. Chapel of Saint Anthony of Padua: Built in the 16th century. Chapel of Santa Maria di Costantinopoli: Erected around 1650, located on Via della Fiumara. Chapel of Saint Anne: Dating back to the 17th century. Chapel of Santa Maria del Garga or Madonna della Fiumara: Constructed in 1874. Not far from this last chapel lie the ruins of the Church of Santa Maria de Garga or Ad Flumen, which dates back to the second half of the 11th century. At the beginning of the 17th century, the church was expanded and annexed to the Monastery of Colloreto, only to be abandoned two centuries later following the suppression of religious orders.
The Church of the Annunziata in Saracena The Church of the Annunziata in Saracena, located in the northern part of the town along the road leading to San Basile and Castrovillari, is what remains of the ancient Dominican Convent. This religious complex was founded in 1575, thirteen years before the construction of the Capuchin Convent. In 1809, following the suppression of religious orders, the convent fell into progressive abandonment and decay. Today, the only surviving parts of the original structure are the sacristy, which has been adapted into a chapel, and the facade of the main altar of the old church. The convent’s garden was later converted into the town cemetery. In 2012, the community of Saracena enthusiastically celebrated the 25th anniversary of the church’s restoration, in the presence of the Bishop of the Diocese of Cassano all'Jonio, Monsignor Nunzio Galantino. This event highlighted the historical and cultural significance of the building for the local community. Today, despite the transformations and losses it has undergone over the centuries, the Church of the Annunziata remains a significant testimony to Saracena’s historical and artistic heritage. Sources: calabriaterrabuona.it, paese24.it
The Church of Santa Maria delle Armi in Saracena An "Instrumento" from the Counts of Puglia, dating back to 1063, lists the "Churches, monasteries, estates, and castles" belonging to the Abbey of Banzi (in the province of Potenza). Among the locations mentioned in this document is "Saracena di Calabria." The churches and hamlets in Saracena that were under the Abbey’s authority included: Santa Maria in Armis SS. Brancaccio e Giovanni Santa Maria e Stefano in Montano San Nicola de Campana Casale Santa Maria di Carratello In a papal bull issued by Pope Paschal II on May 22, 1103, the Monastery of Banzi’s holdings included "in the town of Saracena, Santa Maria, known as Carratello, along with other churches and properties." These records provide the earliest known references to the Church of Santa Maria delle Armi, confirming its status as a dependency of the Abbey of Banzi. Until 1812, the church functioned as an independent parish, after which it was incorporated into the Parish of Santa Maria del Gamio. Between 1885 and 1893, under the direction of Parish Priest Don Alessandro Mastromarchi, the church underwent restoration and expansion. Architectural Features The church interior consists of a large central nave and two shorter, narrower side aisles. The apse is oriented towards the rising sun. One of the most significant artistic elements inside is a 13th-century fresco of the Madonna and Child, painted by an unknown artist, located in the central nave, near the entrance. At the entrance loggia, a 14th-century stone sculpture of a praying young warrior is preserved. The Historic Rione delle Armi The Rione delle Armi, the oldest district of Saracena, derives its name from the church. Visitors can reach it from Piazza XX Settembre, continuing towards Piazza Matteotti, then following Via Fiorentini, which leads directly to the Church of Santa Maria delle Armi. The "Madonna Lactans" Fresco One of the most important artworks inside the Church of Santa Maria delle Armi is the fresco depicting the Madonna nursing the Child Jesus (Madonna Lactans). This piece, dating between the 13th and 15th centuries, remains an anonymous work but is of significant historical and artistic value. Fresco Description Iconography: The Virgin Mary is depicted nursing the infant Jesus, a common medieval theme known as the "Madonna Lactans." Composition: Mary is seated on a throne, set against a carmine red background—a symbol of royalty—adorned with vegetal motifs. Symbolism: The Madonna is shown offering a flower to the Child Jesus, adding a touch of tenderness to the scene. Historical and Artistic Significance This fresco is a key example of sacred medieval art in Calabria, highlighting the widespread veneration of the Madonna Lactans in religious iconography of the time. The Church of Santa Maria delle Armi is home to several other important artworks, making it an artistic and cultural treasure of the region. This fresco remains one of the most valuable artistic relics in Saracena, reflecting local devotion and artistic expression from the 13th to the 15th century. Sources: it.wikipedia.org, fondoambiente.it
The Church of San Leone in Saracena The church was built on the remains of an 11th-century Byzantine-style church with a Greek cross plan inscribed within a square. The exact date of its construction is unknown. Originally dedicated to Saint Catherine of Alexandria, it was consecrated to Saint Leo in the 13th century by Bishop Guglielmo of Bisignano. Its architectural style belongs to the late Romanesque and early Calabrian Gothic period. The hexagonal bell tower with Romanesque trifora windows is a remnant of this era. During the 16th century, under the rule of the Sanseverino family, the church was enriched with new artifacts, and its external doors were adorned with gray stone portals. The most significant restoration took place in the 17th century, giving the interior a Baroque style. Architectural Features The church interior is divided into three naves, separated by six large pillars supporting arches that define the four bays. The vault of the central nave is decorated with frescoes depicting four episodes from the Old Testament: The Sacrifice of Abraham Judith and Holofernes The Good Shepherd The Coronation of the Virgin Mary Inside, the church houses twelve altars and various valuable artworks, including: A Mannerist-style marble statue of the Blessed Virgin The Renaissance-style Ciborium, sculpted in 1522 by a Tuscan artist The Ciborium’s façade consists of a marble slab in bas-relief, featuring: A metal door at the center, engraved with an image of Saint James of Altopasso Two praying angels, carved into the floral-motif side columns Entrance & Baptismal Font The main entrance is framed by yellowish stone and leads into the spacious Baroque-style interior. The 16th-century portal, crafted by a local artist, follows Renaissance-style patterns, with carved angelic and candelabrum motifs. The pillars, topped with Corinthian capitals, display at their base the symbols of the feudal lords of that time. Immediately to the left of the entrance is the Baptismal Font, dating back to the 16th century, made of both stone and wood: The stone base features a crouching lion, supporting a carved column with leaf motifs, holding a circular basin The lion’s paws encase the church’s emblem, inscribed with "S. Leo 1592" The wooden upper section, added in the 17th century, ends with a pointed top adorned with two sculpted relief figures representing the sacrament of baptism Main & Side Altars The high altar, located in the main nave behind a polychrome marble balustrade, is Baroque in style. A white marble statue of the Virgin Mary, dating back to the 16th century, is placed within a niche above the altar. The apse’s vault is adorned with frescoes representing the Kingdom of Heaven and celestial bliss. On the left side, above the choir, there is a fresco depicting Saint Leo miraculously escaping unscathed after entering fire alongside the magician Heliodorus. In the right nave, near the secondary door, stands the Altar of Santa Maria degli Angeli, built in the late 17th century. Originally dedicated to Saint Anne, it was restored in 1960 It now houses a white marble statue of the Madonna and Child, created in Naples in the 17th century, characterized by intricate drapery in Baroque style This sculpture was originally donated by a wealthy benefactor to the Capuchin convent. However, following the suppression of convents by French military forces, it was transferred to the Church of San Leone.
Enclosed in a maze of narrow alleys and stairways, where the oldest noble palaces of the city stand, including those of the Spinelli family, with its remarkable Renaissance decorations, the Forestieri family, and the Mastromarchi family, the ancient parish church dedicated to the Virgin Mary under the title of "Gamio" rises. The term "Gamio," derived from Greek, meaning "wedding," undoubtedly refers to the Wedding at Cana, once depicted in a painting that dominated the High Altar but has since been lost. As the title clearly suggests, its construction dates back to ancient times, when these lands were inhabited or, at the very least, influenced by the Byzantines, to whose rite the church seemingly belonged until 1568. The church's craftsmanship is attributed to Byzantine artisans, as evidenced by the figures of saints with Greek inscriptions that, according to ancient chronicles, were frescoed on the facade, which was destroyed in the last century. Between 1870 and 1874, based on designs by Giuseppe Ruffo of Catanzaro, the building was extended, and a new Neo-Palladian facade was created. The bell tower was also entirely rebuilt starting in 1882 and covered with a spire decorated with fish-scale-patterned green and yellow tiles, reminiscent of Campanian styles. Access to the church is through one of the two side doors, adorned with ancient door panels crafted in 1612 by Giovanni Labollita. Upon entering, one immediately steps into the central nave, which, though not vast, exudes a certain solemnity, dominated by a sumptuous coffered wooden ceiling. The ceiling's intricate carvings began to be gilded by the artisan Jacono Lanfusa in 1618 and were later continued by Gio: Vincenzo de Untiis in 1628. The painted decoration with garlands of fresh roses is credited to Genesio Galtieri of Mormanno in 1787. Above the main entrance, a fine but unfortunately non-functional organ is positioned, purchased around 1650 and later decorated with paintings in 1753 by an artist identified as Felice Spina. The left nave begins with the altar of the ancient Confraternity of St. Leonard, crafted in carved, painted, and gilded wood and dated 1662. At its center is a painting of the saint by Giocondo Bissanti, executed at the turn of the last century to replace an older panel painting documented in the church’s extensive archive. The altar table, like all others in the church, is made of marble and was the work of Father Alessandro Mastromarchi (1883-1893). The vaulted ceiling features a series of paintings depicting Old Testament events (recently restored), attributed to various painters, including Nicola de Oliva and Francesco Viola, active between the late 18th and early 19th centuries. The sequence includes The Burning Bush, The Bronze Serpent, The Giving of the Tablets, and Tobias and the Angel. Following these are the altar dedicated to the Divine Heart of Jesus, dating to the late 19th century, and the altar of St. Stephen Protomartyr, formerly belonging to the Clemente family and later the Mazziotti family, with a painting depicting the saint’s martyrdom, dated 1794. This painting was completely repainted by Bissanti, a Neapolitan painter and photographer, who was somewhat hastily commissioned at the end of the 19th century to restore or entirely renew almost all the church's paintings. Midway through the nave is the Chapel of St. Innocent Martyr, featuring a remarkable altar in polychrome marble, built in 1772 by Marino Palmieri. Initially, this altar housed a beautiful statue of the Virgin, now placed on the High Altar. In its stead, a wooden statue of St. Innocent, of Neapolitan craftsmanship, was installed in 1831. The tabernacle door (now in the museum hall) bears a delicate painting of the Infant Jesus, though it has suffered from heavy retouching by Bissanti. Of interest are two confessionals, crafted by the Fusco workshop. Beyond the sacristy door lies the Altar of Our Lady of Mount Carmel, adorned with elaborate stuccoes from 1791. The central painting, depicting the Madonna of Mount Carmel between Saints James and Charles Borromeo, was executed by Bissanti, based on an oleographic print, replacing an older painting. The nave concludes with the delicate Altar of the Guardian Angel, a venerated figure in Saracena. This complex work was executed by Eugenio and Carlo Cerchiaro in the early 18th century, while the stone altar table, created by Ciampa, a disciple of Gesùmaria, dates to 1735. On the left shelf rests a 17th-century wooden statue of St. Anthony of Padua (originating, like the statue of St. Vitus in the lower church, from the destroyed Capuchin Convent), while on the right shelf is a papier-mâché statue of St. Roch, crafted by Guacci of Lecce. A nearby display case houses an interesting collection of the church's relics. THE LOWER CHURCH Access to the lower church is through a side door. In Calabrian churches, the lower church, or "succorpo," typically functions as a crypt and is often a subterranean space. However, in the case of Santa Maria del Gamio, the succorpo is a vaulted chamber that, due to the steep terrain, is only partially underground. It is reached by a staircase dating back to the late 18th century. Inside, a fine Renaissance-style stone altar is preserved, featuring pilasters adorned with figures of Saints Paul and Leonard on the left and Saints Peter and Andrew on the right. The frontal panel, between the coats of arms of the ancient Scornavacca family, showcases a beautifully expressive relief of the Dead Christ supported by Angels. In the central niche stands a statue of Our Lady of Sorrows, dating to the mid-19th century. This altar was previously dedicated to the Assumption. On the back wall is the highly venerated image of the Crucifix, dating to the early 17th century and likely of Messinese origin. Flanking it are paintings of the Sacred Hearts of Jesus and Mary, purchased in Naples in 1876, and nearby stands the 18th-century wooden statue of St. Vitus. Returning to the main church, one crosses the transept area, where to the left of the High Altar is the grand pulpit, shaped like a blossoming chalice, at the base of which lies the burial slab of priests, set into the ancient entrance of the lower church. This small chamber features a series of stone seats lining the walls. The pulpit is the first known work of Gaetano Fusco, founder of a renowned cabinetmaking workshop in Morano between the 18th and 19th centuries. He crafted it between 1751 and 1754, with the collaboration of Francesco la Viola, who sculpted the figure of St. Paul preaching. On the opposite side is the beautifully carved presbyteral chair, integrated into the choir, also by Fusco, consisting of 19 seats behind the altar. This elaborate work was completed between 1760 and 1763 at a cost of 240 ducats. A niche high on the wall houses a fine marble statue of the Virgin under the title of the Nativity, created in 1766 by an unknown Neapolitan sculptor. References: Gianluigi Trombetti, Le chiese di Santa Maria del Gamio e delle Armi in Saracena - Itinerari storico artistico, Edizione "Il Coscile," Castrovillari (Cs), 1993. Sac. Leone Boniface, La Chiesa di S. Maria del Gamio in Saracena, Castrovillari, 2000.
Capuchin Convent The foundation of the Capuchin Convent dates back to June 23, 1588, a date that presumably corresponds to the day on which possession was taken of the land where the complex was built. At that time, the Bishop of Cassano, Monsignor Carafa, entrusted the actual construction of the convent to the judgment of a commission of religious figures. This commission included Reverend Luciano Scrugli, chaplain of the Church of Santa Maria delle Armi, Father Provincial Girolamo d’Acquaro d’Arena, and other Fabbricieri fathers, who laid the foundations for its construction. Over the years, the convent gained particular importance due to its location, becoming a place of novitiate and study. In 1693, the Blessed Angelo of Acri spent a year there. Following the Murattian suppression, the friars were forced to abandon the structure in 1811, and it was only returned to them after several years. It was permanently closed in 1915 due to a lack of friars. During World War I, the convent was used as a prison for Austrian and German soldiers. Attached to the convent, which is enclosed by walls, an aula-style church was built, allowing the religious community to access their residences directly from inside. The friars' quarters were characterized by numerous simple, small rooms furnished with minimal furniture and only the most essential household items. On the ground floor, the inner courtyard is bordered on one side by a portico and was built over a medium-sized artificial excavation, which was dug vertically to collect rainwater. Today, the well that provided the friars with water and the cloister are in a state of neglect, as is the entire complex. At the rear of the structure, a garden can still be recognized, originally intended to ensure the convent’s self-sufficiency in food production. Later, for a few years at the beginning of the last century, the garden was repurposed as a city cemetery, traces of which are still visible today. Around 1988, the Superintendence of Cosenza intervened with funding to consolidate and cover only the church. Subsequently, due to the efforts of a group of young locals and a fundraising initiative in Saracena, repairs were made to part of the convent’s roof. However, these interventions were minimal. The convent, in fact, requires substantial and urgent funding. The Capuchin Convent is located at the foot of the town, slightly away from the residential area. Unlike other convents, it is not positioned with a direct view of the town. The structure can only be reached on foot. Starting from Piazza XX Settembre, one must cross the entire historic center to reach Portanova—where one of the town’s feudal gates was once located—and then continue for about a hundred meters along a cobblestone path. Alternatively, the convent can be accessed via a small road that starts from the main square (Piazza XX Settembre) and passes through the San Pietro district.
The Cave of St. Michael the Archangel (also known as Sant’Angelo Cave) The Cave of St. Michael the Archangel is a large karst cavity located at an altitude of 750 meters above sea level, within the limestone cliffs on the right bank of the Garga River, nearly opposite the modern town of Saracena. Its strategic position along a natural communication route between the Sybaris Plain and the Tyrrhenian coast suggests its long history of human presence. Archaeological evidence confirms that the cave was continuously inhabited for almost 5,000 years, from the early Neolithic period to the Middle Bronze Age (approximately 6,000–1,500 BCE). Campanella Cave – A Frontier Sanctuary of the Achaeans of Sybaris Campanella Cave is a small karst cavity characterized by impressive stalagmite formations that create a highly evocative atmosphere in certain sections. The significant number of Corinthian or colonial ceramic artifacts, particularly arranged around the edges of a central hearth, has led archaeologists to determine that the cave was used for religious purposes between the 7th and 6th centuries BCE. Located within the Pollino National Park, in the territory of Saracena, Campanella Cave extends approximately 20 meters in length and 2 meters in width. It is easily accessible via a trail starting near the Sanctuary of Madonna della Fiumara. Excavations confirm that the Achaeans of Sybaris used the cave as a sanctuary, as evidenced by the ceramic remains discovered on-site. Citavetere – The Enotrian City from 1,800 BCE The rocky hill of Citavetere, overlooking the Garga River valley, represents a typical settlement of a Bronze Age community. Identified as the site of the ancient Enotrian city of Sestio, Citavetere dates back to the early Middle Bronze Age (circa 1,800–1,700 BCE). Its morphological characteristics, including a dominant position and natural defenses formed by steep slopes, suggest it was a fortified hilltop settlement. Historical sources indicate that the ancient city of Sestio was conquered by the Saracens in 900 CE and later destroyed by an imperial Byzantine army. The survivors established a new settlement on the opposite bank of the Garga River, which later became the present-day town of Saracena. Today, Citavetere stands as an important archaeological site, offering valuable insights into the presence and development of Enotrian communities in the region during the Bronze Age.
I paesi del Parco – SARACENA Territory Saracena is situated on a rocky hill that stretches along the eastern slope of the Garga River valley, at the foot of the Orsomarso Mountains, which form the southern extension of the Pollino National Park. Just a few kilometers from the town center, almost directly opposite, is the Grotta di San Michele Arcangelo, commonly known as the Grotta di Sant’Angelo, a large karstic cavity opening at around 750 meters above sea level in the limestone wall to the west of the Garga River. It was inhabited from the Early Neolithic until the Middle Bronze Age. Among the other natural resources in the area are Mount Caramolo, which at 1,827 meters is the highest point in the municipality, the Novacco Plateau, the Masistro Plateau, Timpone Scifariello, and the Tavolara Pond. The territorial surface area is 111.51 km², with a population density of 37 inhabitants per square kilometer. The municipal territory spans from 92 meters to 1,827 meters above sea level, with an elevation range of 1,735 meters, contributing to the variety of its botanical and faunal heritage. As for the climate of Saracena, the historian Vincenzo Forestieri, in the second half of the 19th century, described it as follows: “The climate is temperate and the air is healthy. While winters on the mountains are harsh, the summer heat is mitigated by the cool breezes from the same mountains.” History It is believed that Saracena descends from the ancient Sestio, founded by the Enotri, as reported by Strabo, Stephen of Byzantium, and Father Giovanni Fiore from Cropani. In his Della Calabria illustrata, Father Fiore speaks of Saracena: “An ancient land, the same that once flourished under the name of Sestio, founded by the Enotri... It was the sixth land built by Enotrio Arcade in Calabria, five hundred sixty years before the Trojan War, and hence was named Sestio.” Both Strabo and Stephen of Byzantium are cited by Abbot Giovan Battista Pacichelli in his Il Regno di Napoli in prospettiva (1703), where, referring to Saracena, he states: “It cannot be doubted that this land is the ancient city of Sestio, mentioned by Strabo and Stephen of Byzantium among the many others of the Enotri...” Pacichelli, in his posthumous work, also mentions fiscal censuses, and regarding Saracena, he adds: “This land is recorded with three hundred seventy-three hearths, filled with nobles and wealthy inhabitants, adorned with many notable buildings of palaces and churches, among which there are three parochial ones.” According to Father Fiore, Sestio was founded in the year of Creation 2256 (1744 BC), and around the 9th century AD, it was conquered by the Saracens, who established a colony there. Later, according to Fiore, the imperial army of Constantinople attacked and destroyed the city, scattering the few survivors who were led by a naked, disheveled woman wrapped in a sheet. The memory of this legend is depicted in an ancient fresco visible on the front of the Chapel of St. Anthony and on a 16th-century polyptych preserved in the sacristy of the Church of St. Mary del Gamio, as well as in the municipal seal and the gonfalon of Saracena, where a woman is portrayed fleeing, wrapped in a sheet, surrounded by the inscription: "Universitas terrae Saracinae." Once the city was rebuilt at a more defensible site (the present location), the Byzantine period began. Its first cultural and social influences can be traced back to the 8th century through the influence of Greek monasticism, which was part of the broader monastic movement in the Mercurion region. In the 10th century, the Byzantine administration created the Catepanate of Italy, which included all of Calabria. Developments and Dominations The new town, developed around the baronial castle, enclosed by walls (which are now destroyed or incorporated into the buildings' walls) and fortified with four gates (Porta del Vaglio, Porta S. Pietro, Porta Nuova, and Porta dello Scarano), became a feudal domain with the arrival of the Normans in the second half of the 11th century. During this period, at the turn of the 11th and 12th centuries, it is likely that the new name of the town began to be used. Its urban and demographic development was such that in 1275, it was the fourth-largest town in the Cassano diocese, with 3,585 inhabitants. In the 14th century, the location was referred to as Castrum Sarracene, and by the early 1500s, it was known as alla Saracena. The Feudo of Saracena initially belonged to the Dukes of St. Marco and other feudal lords, including Guglielmo Pallotta and Filippo Sangineto of Altomonte. From the second half of the 14th century, it passed to the Sanseverino family, first as counts and dukes, and later as Princes of Bisignano, who held it for over two centuries. Toward the end of the 17th century, it was purchased at a public auction for 45,000 ducats by the Gaetani d'Aragona, Dukes of Laurenzana, who, in 1613, transferred it to the Pescara family of Diano. With royal consent on March 26, 1718, for 102,000 ducats, the Feudo of Saracena was sold to Francesco Maria Spinelli, 8th Prince of Scalea. The Spinelli family's dominion over the city lasted until 1806, when, by order of Napoleon Bonaparte, the feudal system was abolished. During the Risorgimento, despite being a small community, Saracena was very active on the patriotic and anti-Bourbon front. A section of the "Giovine Italia" was active in the town, known as the "Chiesa del Garga," with notable figures such as Stanislao Lamenza, Gaetano De Paola, Leone Forestieri, Antonio Prioli, Francesco Pompilio, and Leone Ricca. Antonio Prioli, sentenced to seven years in prison for political reasons, died in prison on April 29, 1855. His figure was remembered by Luigi Settembrini in the posthumous work Ricordanze della mia vita. Stanislao Lamenza, after several years in prison for political reasons, participated in the Expedition of the Thousand and lost his life in Palermo, fighting as a major against the soldiers of the Kingdom of the Two Sicilies. Leone Ricca, after serving a prison sentence for political crimes, worked on establishing the National Guard. In 1863, he was awarded the Silver Medal for Military Valor as a Captain in the Volunteers of Southern Italy for "valor demonstrated on October 1, 1860, near Capua." Leone Ricca also left an interesting correspondence with Giuseppe Garibaldi. Leone Ricca’s son, Giovan Battista, was also awarded a medal for his role in the 1866 war against the Austrians. In the early 2000s, Saracena was awarded the title of "Garibaldian City." Monuments and Places of Interest Andrea Alfano Municipal Art Gallery The Saracena Art Gallery, located in the historic Mastromarchi Palace, is dedicated to the painter and poet Andrea Alfano (1879-1967). It contains a collection of over 230 paintings, drawings, and sculptures by Italian and foreign artists, primarily from the 20th century. The establishment of the gallery, inaugurated on May 1, 1985, along with the Municipal Library, was made possible by the donation from the surviving founding members of the "Sestium" Artistic-Cultural Association, active in Saracena from 1952 until the mid-1970s. The gallery's collection includes works by Renato Guttuso, Domenico Purificato, Giovanni Omiccioli, Sante Monachesi, Guglielmo Sansoni, Franco Iurlo, Ugo Attardi, Eliano Fantuzzi, Giovanni Consolazione, Antonio Vangelli, Giulio Turcato, Ernesto Treccani, Ortensio Gionfra, Enotrio Pugliese, Carlo Acciari, Pericle Fazzini, Andrea Alfano, Luigi Montanarini, Ilia Peikov, Giuseppe Ragogna, Mimmo Sancineto, Leila Lazzaro, Lello M. Barresi, Valery Escalar, Irene Paceviciute, Leonardo De Magistris, Helene Zelezny-Scholz, Emilio Greco, and others. Initially, the collection included 75 works. During the inauguration, the speaker, Professor Aldo Maria Morace, referred to the number of works and the prominence of the artists in the collection, calling the event a "miracle à l'italienne." Sacred Art Museum The Sacred Art Museum, inaugurated on April 30, 1993, is housed within the Church of Santa Maria del Gamio in the historic center. It contains paintings, silver and gilded copper furnishings, reliquary busts, liturgical vestments, and archival documents, spanning the 16th to 19th centuries. Notable works include an exhibition throne of Neapolitan origin for the Eucharistic exposition, two large monstrances crafted by silversmith Salvatore Vecchio in 1753, a 17th-century processional cross, and a painting of the Madonna della Purità created on a metal plate between the 17th and 18th centuries. Church of San Leone The church of S. Leone, whose exact construction date is not known (probably between the 10th and 11th centuries), was built on the ruins of a church with a Greek cross inscribed in a square, and therefore of Byzantine worship. Equally uncertain is the moment in which the Byzantine rite was replaced by the Latin rite. The church, initially dedicated to Saint Catherine of Alexandria, was consecrated to Saint Leo, known as the Thaumaturge, in 1224 by Guglielmo, bishop of Bisignano. It is the largest of the churches in Saracena. Its typology can be ascribed to the mature Romanesque period and the first Calabrian Gothic. The bell tower with a hexagonal plan and Romanesque triple lancet windows remains from this period. It was retouched in the 17th and 18th centuries. The exterior is characterized by the beautiful 16th-century portal located in the main façade, commissioned by the Sanseverino Princes. The side portal, carved in limestone by local stonecutters, dates back to the same century. The interior, remodeled, is in Baroque style and divided into three naves. On the vault of the central nave there are frescoes depicting four episodes from the Old Testament, such as 1) the Sacrifice of Abraham, 2) Judith and Holofernes, 3) the Good Shepherd and 4) the Coronation of the Virgin Mary. The interior houses various works of art of considerable interest and artistic value, including marble statues, wooden statues and sculptures, paintings, reliquary busts, silver chalices, monstrances, chasubles, copes. Along the left nave there are four chapels, dedicated, respectively, to: San Leone, the Virgin Most Holy of Sorrows, the Virgin Most Holy of the Rosary, the Madonna delle Grazie. Church of Santa Maria del Gamio The church of S. Maria del Gamio (from the Greek “of the wedding”, with a probable reference to those of Cana) is a building of Byzantine origin, and is among the oldest churches in the area of the Pollino National Park. The exact year of its foundation is unknown, but it can be dated between the 10th and 11th centuries. From the analysis of some ancient parchment fragments it can be deduced that the Byzantine rite remained in use until 1568, the year of the consecration of the church to the Latin rite.[13] During the 17th and 18th centuries the church underwent some renovations, and in the second half of the 19th century, at the behest of its attorney D. Alessandro Mastromarchi, the building was extended in plan with the creation of a new facade in neo-Palladian style (1870-1874). The bell tower was also completely redone between 1882 and 1884. The church is accessed by an iron gate, built and placed on site in the second half of the 19th century. Once past the gate, you enter an open space, restored in 1997. In front of the gate there are two doors, one of which is used as the entrance to the church. The oldest door was built by a certain Giovanni La Bollita from Altomonte at the beginning of the 17th century, with external stucco work by Pascale Morello in 1757-58, while the other door was placed there in 1872 following the extension work on the building. The interior of the church, rich in works of art, has three naves. The central nave features a majestic ceiling with carved and gilded wooden coffers, the work of the craftsmen Jacono Lanfusa and Vincenzo de Untiis who created it between 1619 and 1628. Further decorative work on the ceiling was carried out in 1787-88, in addition to (in the same years) interventions aimed at protecting it from water and dust infiltration. The only chapel in the church is dedicated to St. Innocent the Martyr, protector of the parish. The statue of St. Innocent was purchased in Naples in 1831, and placed on a marble altar built in 1772 by the Neapolitan artist Marino Palmieri, on which the statue of the Madonna della Natività was previously placed, then transferred to the main altar. In the sacristy there is a beautiful polyptych on wood from the mid-sixteenth century, among whose depictions stand out San Biagio and San Francesco di Paola. At the base of the structure, under two columns, are the coats of arms of the Sanseverino family, lords of Saracena, and of the city. Also of considerable interest is the underlying bench, from a local artisan workshop, dating back to the mid-17th century. Adjacent to the sacristy is the Museum of Sacred Art. Church of Santa Maria delle Armi In the oldest district of Saracena stands the church of S. Maria delle Armi, once a parish and since 1812 a dependency of Gamio, whose first news is found in a document from the second half of the 11th century in which the churches dependent on the Abbey of Banzi are mentioned, and, among these, there is S. Maria in Armis. Madonna allattante (15th-16th century) On the entrance door of the church, located on the long side of the same, there is a small alabaster statue - partially deteriorated - depicting the Virgin and Child. The dating of this sculpture is uncertain. The interior of the church has three naves. Among the works of art present, noteworthy are, among others: a canvas on the high altar depicting the Madonna and Child with Saints, by an unknown artist (17th century); the altar balustrade, with its anthropomorphic figures and decorative medallions (18th century); the wooden pulpit with Renaissance decorations (16th century); the confessional, made by the prestigious cabinet-making workshop of the Fusco family of Morano Calabro (18th century). In the central nave you can also admire a fresco of the Madonna and Child (Madonna allattante) by an unknown artist, dating back to the 15th-16th century or perhaps earlier, one of the most beautiful works of art preserved in Saracena. In the second half of the 19th century the church underwent a restoration and expansion project. Capuchin Convent Chapels In the territory of Saracena, in addition to the three churches, there are numerous chapels, some of which are of Byzantine origin. The main ones are: S. Maria dell’Alto Cielo or Ara Coeli (12th century, located in the S. Pietro district), S. Antonio di Padova (16th century), S. Maria di Costantinopoli (built around 1650, located in Via della Fiumara), S. Anna (17th century), S. Maria del Garga or Madonna della Fiumara (1874). Not far from this last chapel are the ruins of the Church of S. Maria de Garga or Ad Flumen, dating back to the second half of the 11th century. At the beginning of the 17th century the church was enlarged and added to the Colloreto Monastery, only to be abandoned two centuries later following the suppression of the religious orders.
Located in the room adjacent to the sacristy, one can already admire a 16th-century Polyptych displayed on a 17th-century shelf. Unfortunately, the central panel is missing, but the side panels depict: the Angel announcing to Mary, St. Blaise and St. Francis of Paola, the Adoration of the Magi, and the Beheading of St. John the Baptist. At the base of the columns are the coats of arms of the Sanseverino family, lords of Saracena, and the coat of arms of Saracena. The door opposite leads into the Museum Hall, the true treasure of the Church, consisting of precious silver items, among which stands out a majestic Monstrance used for the exposition of the Blessed Sacrament, along with its Ostensorium, crafted in 1746 by the silversmith Salvatore Vecchio, possibly from Cassano Jonio, commissioned by the procurator Don Domenico Mastromarchi. Noteworthy is the processional Cross made of silver sheets, attributable to the mid-17th century and possibly from the Castrovillari-based workshop of the Conte family, which shows a delicate image of St. Innocent on its reverse. The collection also includes a censer donated by chaplain Don Daniele Celio in 1692, along with several other silver and gilded copper liturgical furnishings, made by Neapolitan and local silversmiths from the 17th to the 19th centuries. Particular mention should be made of the painting depicting the Madonna della Purità, created on a metal plate between the 17th and 18th centuries. Also of interest are the reliquary busts from the 17th and 18th centuries, in gilded damasked wood, the paintings (16th-19th century), and the liturgical vestments (17th-18th century). In the adjacent room, important archival documents are on display, recognized as being of significant historical interest by the Archival Superintendency, including the manuscript of the "Historical Monograph of Saracena" by Forestieri. Publications: Gianluigi Trombetti, Le chiese di Santa Maria del Gamio e delle Armi in Saracena - “Itinerari storico artistico” - Edizione “Il Coscile”, Castrovillari (Cs), 1993. Sac. Leone Boniface, La Chiesa di S. Maria del Gamio in Saracena, Castrovillari, 2000.
The “Andrea Alfano” Municipal Art Gallery of Saracena When the municipal art gallery in Saracena was inaugurated on May 1, 1985, named after the great Castrovillari painter Andrea Alfano, the official speaker, Professor Aldo Maria Morace, then from the University of Messina, stated: “... the initiative in Saracena marks a change in direction, it summarizes and echoes the desire for redemption of an entire region... the drawings, paintings, and sculptures that Saracena has gathered in this newly inaugurated gallery, with tenacious will, represent a new, invigorating form of 'Italian miracle', in the sense of the ability to invent, to affirm life where it would seem forbidden, to defeat a condemnation where it would seem inevitable... Saracena did not resign itself to the state's guilt regarding the longstanding issue of decentralization and the widespread distribution of cultural and artistic heritage: it acted on its own, with astonishing initiative, with a sharp determination to adapt the means used to the available resources, managing – thanks mainly to the generosity of the artists represented in the gallery – to collect an absolutely unusual collection of works, which I would say is forbidden, for a municipality that has very limited resources for this item in its budget. And it is a heritage – I want to emphasize this – that, regarding the 20th century, has no comparison or parallels with what the three main cities of Calabria have managed to acquire.” The establishment of the art gallery was made possible thanks to the donation made by the surviving founding members of the Cultural Association “Sestium,” which had operated successfully in the 1950s. The collection consisted of 70 paintings by the most renowned contemporary masters, such as Guttuso, Purificato, Omiccioli, Monachesi, Tato, Attardi, Fantuzzi, Gionfra, Consolazione, Vangelli, Turcato, Pericle Fazzini, Enotrio Pugliese, Andrea Alfano, Montanarini, Ragogna, and others, as well as 5 sculptures, including a superb “Head of a Woman” by Emilio Greco. In the following years, under the impulse of its director and a group of artist friends, the gallery expanded with new donations, bringing the collection to a remarkable number of 236 works, including paintings and drawings, and 23 sculptures. Among the new contributors, we note, among others: Philip Raa (Girl’s Face), Carlo Acciari, Lello M. Barresi, Pino Caccamo, Nora Carella, Elsa Cattani, Salvatore Colantuoni, David Grazioso, Leonardo De Magistris, Amleto D’Ottavi, Valery Escalar, Carmelo Fodaro, Francesco Guerrieri, Ernesto Lombardo, Carlo Lorenzetti, Roberto Marchionne, Lillo Messina, Franco Mulas, Vittorio Paradisi, Luigi Passeri, Marco Rossati, Luigi Russo, Piero Sbano, Nunzio Solendo, Armando Stefanucci, Nino Suriano, Lino Tardia, Mario Tornello, Ernesto Treccani, Aldo Turchiaro, Gianni Turina, Umberto Verdirosi. Among the sculptors: Alessandrini, Bruscaglia, Bucci, Cangini, Chiaramonte, Consolazione, Falciano, Fianchini, Graziotti, Emilio Greco, Lorenzetti, Meloni, Montrone, Mori, Niglia, Nuhìu, Paladino, Ronzoni, Scholtz, Signoretti, Tentarella, Verdini. The works arrived free of charge from all over Italy, from artists proud to be part of the now “famous” municipal art gallery of Saracena. However, difficulties soon arose as the available space was no longer suitable to house such a vast artistic heritage.
