After centuries of silence, the fresco “The Descent into Hell” Lucanian painter Pietro Antonio Ferro returns to the spotlight. Housed in the Franciscan Sanctuary of Sant'Antonio in Polla (Salerno)—already listed among the Thousand Wonders of Italy—the work now reveals, thanks to careful restoration, all its iconographic richness and spiritual value.
The 17th century painting, created by the artist according to 16th century models, is reborn after the ravages of time and will be officially presented tomorrow, December 14th, at 4:30 pm, at the Franciscan complex, during the event with the evocative title “The fresco revealed”Art, theology, and spirituality will intertwine in a dialogue capable of expressing the profound meaning of the painting and the restoration project that brought it to light, not only aesthetically but also as a testimony of faith and culture.
Pino Schiavone, the restoration project's author, will be present at the meeting to explain the complexity and delicate nature of the work, made possible thanks to the strong will of the municipal administration and the collaboration of the Franciscan friars, both of whom are key players in achieving this important milestone.
The program also includes remarks by Giovanni Corleto, President of the Polla City Council and responsible for culture, and Maurizio D'Amico, Director of the "Insteia Polla" Civic Museum, who will provide the introduction. This will be followed by official greetings from Mayor Massimo Loviso and Corrado Matera, Regional Councilor of Campania.
In an interesting comparison between theology and art, Lorella Parente, Director of the Office of Culture and Art of the Archdiocese of Salerno-Campagna-Acerno and professor at the Higher Institute of Religious Sciences of Salerno, will converse with Friar Domenico Marcigliano, Head of the Office of Art and Culture of the Salerno-Lucanian Province of the Friars Minor.
The conversation will be enriched by the screening of videos and images documenting the details of the fresco and by musical interludes curated by flautist Bernardo Tramontano, who will perform live arias and adagios by Albinoni, Gluck, and Marcello on self-produced orchestral backing tracks.
The pictorial scene at the center of the event, masterfully rendered by the renowned Lucanian artist, highlights Christ's redemption, embracing the living and the dead. It is a call to hope and victory over death, which, in a historical moment like the present, marked by the evil of war and destruction, resonates with particular force and relevance.
The restoration and enhancement project thus also seems to interpret the yearning for a spiritual message capable of mediating humanity's difficulties. Initiatives of this kind, with positive, intimate, and transcendent signals, appear capable of evoking faith and belief in a future freed from evil by Christ.
To give authenticity and depth to these themes, we have chosen to rely on
In the words of Fra Domenico Marcigliano, an active participant in the restoration of the work, whose commitment seemed decisive to us. The emotions and reflections he shared accompany us in this brief interview.
As Head of the Art and Culture Office of the Salerno-Lucania Province of the Friars Minor, can you explain your contribution to the restoration project and whether you closely followed the stages leading up to the official unveiling of the Descent into Hell scene?
The complex and delicate restoration project, still underway, and the new research accompanying it, are leading us to rediscover a wealth of iconography that was previously difficult to read due to wear and tear and damage to the painted layer. Observing the cleaning and restoration of the frescoes up close is of great historical interest. For years, I have personally been advocating for an intervention that would restore such a historic legacy. Today, thanks to funding from the municipal budget, the entire frescoed surface of the Sanctuary Church is being restored.
What personal emotions did you feel when you saw the scene of Jesus Christ's Descent into Hell re-emerge, thanks to the restoration, now finally legible in its newfound splendor?
The emotion is intense because it is accompanied by the "rediscovery" of many details that had been illegible for centuries. This Descent into Hell stands out as an iconographic unicum of its kind. Not only for its historical and artistic value but also for the exceptional catechetical and theological significance of the scene depicted. Obviously, the entire fresco cycle, created in the early 17th century and attributed to the Lucanian painter Pietro Antonio Ferro, depicts episodes from the life of Christ that have a clear theological and catechetical intent and were developed according to a thoughtful program consistent with a Christological content.
In addition to officially unveiling the restored work, do you believe that the presentation of the fresco The Descent into Hell of Jesus Christ—enriched by contributions from theology and art experts and musical interludes—could have the further purpose of sparking greater public interest in this rediscovered heritage, as well as stimulating reflection on its value for the Vallo di Diano area?
Undoubtedly, promoting this heritage of historical and artistic interest, including through cultural events that highlight the beauty of art combined with theology and music, encourages a greater appreciation of the Val di Fassa region, thus fostering a greater understanding that transcends its narrow confines. We need to move beyond sterile parochialisms that impoverish rather than create a wealth of shared ideas for shared cultural growth. The presentation of this fresco is intended to be a broad-ranging contribution.
Do you think this restoration could help shed a new light on Polla, home to the Antonian Sanctuary, strengthening its cultural and spiritual reputation?
The Antonian Sanctuary of Polla, which we recall, is certainly located along the historic routes of the ancient Via Popilia and is among the places of Antonian devotion, a stop on the Way of Saint Anthony from Capo Milazzo to Assisi and Padua. The Ministry of Cultural Heritage and Activities included it among the "Thousand Wonders of Italy" in 2012. It is the only sanctuary in the world where the statue of Saint Anthony wept in 2010. All these reasons already give it a historical and devotional interest that attracts many visitors. But much more can and must be done, and the ongoing restoration highlights such a rich cultural heritage. Polla, which has always been linked to devotion to the Saint of Padua and his Sanctuary, can greatly benefit from being better known and appreciated for its history and for its longstanding welcoming nature.
What new opportunities for study, faith, and cultural tourism open up thanks to this rediscovery?
The opportunities are numerous; first and foremost, we must believe in the potential that such an artistic and devotional heritage can offer the community and foster cultural and economic growth. But it's important to work synergistically between the various institutions, and we know this isn't always easy. But if we want to achieve our goals, we need to be clear about where to start and what we want to invest in in terms of professional collaboration in the service of the common good.
Source EDITORIAL TEAM
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