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It is thought that the origines of Grassobbio's name may come from the diminutive of the word "grasso", which in past was used to indicate something prolific. Then it was added the suffix -ubulus.

User:Sof1998/Heritage studies and ICT 2020-2021

THIS FOLLOWING PART IS THE ONE I DID FOR THE TRANSLATION OF THE PAGE OF THE SANCTUARY OF SANTA MARIA ASSUNTA GRASSOBBIO, IN THE OFFICIAL PAGE THERE ARE THE REFERENCES TOO.

Architecture
The church sees a stone facade, where in the middle there is a huge front gate made with Zandobbio marble; on the left and above the big portal there are two flaring windows protected by iron grating. It points its direction towards East: the main entrance is located on the west side, thus in this way the observants will walk towards Orient, which symbolize the rise of Christ.

The building exhibits a rectangular nave divided into three spans, surrounded by a two-slopes-roof and a wood truss. In the second span there is the chapel dedicated to the Assumption of the Virgin. The presbitery, like the nave, is characterized by a rectangular plant: at the beginning it is covered by a barrel vault, ending with a lunette one.

There are two entrances (one on the left side and one on the center), which conduct to the bell tower and the sacristy.

Art
The frescos on the presbitery walls represent the cicle of the Virgin Mary's life and they were painted by Andrea Boselli. The figured scenes are taken both from the Canonical Gospels and Apochripha Gospels. The paintings are: The Magi Adoration, The Annunciation, The presentation of Mary to the temple, The wedding of the Virgin, The Visit of the Apostles to Mary, History of Gioacchino and Anna, The Assumption, The Death of Mary, Jesus at the Sepulchre of Mary, The Nativity, The Crucifixion, and finally The Piety of Saint Apollonia and Bernardino.

History of Gioacchino and Anna
Located on the left side of the presbitery, it represents the parents of Mary (Gioacchino and Anna), who at that epoque were considered damned because of the impossibility of having children. It the same scene, Boselli paints two different episodes: in the first (above on the left part) there is the Angel, who announces to Gioacchino the birth of a daughter; the second one, in the foreground, is illustrated the encounter between Gioacchino and Anna in front of the Gold Door of Jerusalem, which is represented as the colonnade of a farmhouse. In this scene the protagonists hug themselves personifying the Immaculate Conception and her Assumption, thus the mistery of Mary to whom the shrine is dedicated.An interesting particular is related to the sheperds: they wear typical Bergamo clothes, over a camel, which colour is the one of the donkeys used by the sheperds during agricultural acts. In the middle of the painting, a wood divides the two secens: a small bush, which has been broken by a lightning, is incredibly bloomed again. It represents the possibility for Anna to give birth again, in this case she could conceive the mother of God.

The frescos in this church, through popular narrative methods, seem to be a reflection about the misteries of the Marian theology: Immaculate, Mother of God and Assumption.

Annunciation
On the left side of the presbitery, this fresco shows the arrival of the Angel Gabriele in the house of Mary. The window seems to be opened suddenly, letting the dove of the Holy Ghost enter: in that right moment the prediction comes true. As far as the technical analysis is concerned, there is a strong contrast between the purple mantle and the withe of the tunic dressed by the Angel. They are characterized by a highlighted drapery that makes volume; this detail is present on the green curtains and on the Mary's dress.

This scene marks the transition from the Old to the New Testament.