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La semplice aula unica, a cui si accede da un antioratorio con l’altare del Crocifisso, si definisce nel secondo decennio del ‘700 col progetto di Giacomo Serpotta che “inventa” una fastosa decorazione a stucco sulle pareti già adorne di ricchissime tele, per lo più riferibili al XVII secolo, raffiguranti i Misteri del Rosario. Il Serpotta , nello specifico, nobilitò la tecnica dello stucco, tradizionalmente povera, aggiungendo polvere di marmo alla calce e al gesso, donando così lucentezza e pregio alle sue opere.
Sull’altare maggiore è la straordinaria Madonna del Rosario di A. Van Dyck.Il prospetto lungo la via Bambinai fu rifatto nella seconda metà del XVIII secolo da Vincenzo Fiorelli.
Per la visita artistica dell’interno dell’Oratorio – Le pitture trattano sulla parete sinistra i Misteri Gaudiosi: l’Anunciazione (ambito di Pieto Novelli), La Visitazione (Guglielmo Borremans), Natività con adorazione dei pastori (Geronimo Gerardi, Presentazione al Tempio o Circoncisione (ambito fiammingo), Disputa di Gesù con i Dottori del Tempio (Pietro Novelli),
Sulla parete destra sono invece i Misteri Dolorosi: l’ ‘Orazione nell’orto (ambito napoletano), Flagellazione (Matthias Stom). Coronazione di spine (ambito fiammingo) e Crocifissione (copia da Van Dyck). Sulla parete di controfacciata sono i Misteri Gloriosi: Resurrezione (Orazio De Ferrari), Ascensione (copia da Pieto Novelli). Pentecoste (Pietro Novelli) e Assunzione della Vergine (Giovan Andrea De Ferrari); il quindicesimo Mistero che rappresenta “L’Incoronazione della SS. Vergine” è stato dipinto da Pietro Novelli sulla volta dell’oratorio.
I quadri sono inseriti e valorizzati dalle statue e dai rilievi in stucco di Giacomo Serpotta. In sintesi, lo scultore eseguì episodi dell’Apocalisse e due episodi del Vecchio Testamento, legati ai Misteri del Rosario (in alto entro gli ovali), quindi le statue allegoriche di virtù cristiane connesse a quelle storie e gruppi di putti deliziosi, tipici della sua arte. Gli ovali di sinistra, guardando l’altare, rappresentano: “La Città Santa”. “Il Redentore con la Tiara”, “Visione della donna che sconfiggerà la bestia”, l’adorazione dell’ Agnello, “gli eletti adorano l’Onnipotente; nella controfacciata: “La scala di Giacobbe”, “L’assunzione della Vergine”, “Abacuc trasportato dall’angelo”, e nella parete di destra: L’angelo porge l’Apocalisse a San Giovanni”, “Lucifero incatenato dall’ angelo”, “Gli anziani adorano il Redentore”, “Gli angeli segnano la fronte delle donne”, “L’Agnello e il libro dei sette Sigilli”. Nella parete di controfacciata a protezione del Seggio dei Superiori è posto il quadro di “Santa Caterina d’Alessandria“.
If your guide book or some of your friends suggest visiting the oratory of San Domenico (or Santa Cita or even San Lorenzo) -you can trust them, they have advised you very well. No matter how sober and severe the entrance doors may appear, don’t hesitate, go ahead. Inside, deliberately protected from the prying eyes of ordinary mortals not belonging to the Company, there is a jewel of great artistic prestige, a masterpiece by Giacomo Serpotta, the one that Donald Garstang called “the main artist of stucco in Europa” and Giulio Carlo Argan considered “one of the greatest sculptors of the eighteenth century”
The simple single room, which is accessed from a chapel with the altar of the Crucifix, is defined in the second decade of the eighteenth century precisely with the project of Giacomo Serpotta that “created” a sumptuous stucco decoration on the walls already adorned with very rich canvases, for most referable to the 17th century, depicting the Mysteries of the Rosary. On the main altar is the extraordinary Madonna of the Rosary by A. Van Dyck.
Indeed Serpotta renewed the stucco technique, which was traditionally poor, by adding marble dust to the lime and to the plaster, so he made his sculputures shine and gave value to all his works.
The façade along Via Bambinai was rebuilt in the second half of the 18th century by Vincenzo Fiorelli
For the artistic visit of the interior of the Oratory: the paintings on the left wall show the Glorious Mysteries: The Annunciation (by Pietro Novelli), The Visitation (Guglielmo Borremans), Nativity with adoration of the shepherds (Geronimo Gerardi, Presentation at the Temple or Circumcision (Flemish area), Dispute of Jesus with the Doctors of the Temple (Pietro Novelli).
On the right wall there are the Sorrowful Mysteries: The Prayer in the Garden of Gethsemane (Neapolitan area), Flagellation (Matthias Stom). Crowning with thorns (Flemish ambit) and Crucifixion (copy by Van Dyck). On the counter-façade there are the Glorious Mysteries: Resurrection (Orazio De Ferrari), Ascension (copy from Pieto Novelli). Pentecost (Pietro Novelli) and Assumption of the Virgin (Giovan Andrea De Ferrari); the fifteenth Mystery representing “The Coronation of the Holy Virgin” was painted by Pietro Novelli on the ceiling of the oratory.
The extraordinary “Madonna del Rosario with San Domenico, Santa Caterina da Siena and Saints Vincenzo Ferrer, Oliva, Ninfa, Agata, Cristina and Rosalia” is the largest sacred altarpiece painted by Anton Van Dyck, a pupil of Rubens (1625 – 1627).
The painting is dedicated to the memory of the plague that struck Palermo in 1624 and which had been eradicated thanks to the intervention of Santa Rosalia who has since been “Patroness” of the City.
The paintings are inserted and enhanced by the statues and stucco reliefs by Giacomo Serpotta. In summary, the sculptor performed episodes of the Apocalypse and two episodes of the Old Testament, linked to the Mysteries of the Rosary (above in the ovals), then the allegorical statues of Christian virtues which are connected to those stories and groups of delightful cherubs, typical of his art. The left ovals, looking at the altar, represent: “The Holy City”. “The Redeemer with the Tiara”, “Vision of the Woman who will defeat the beast”, the adoration of the Lamb, “the Elect worship the Almighty. On the counter-façade there are”The ladder of Jacob”,” The assumption of the Virgin ” , “Habakkuk transported by the angel”, and on the right wall: The angel hands the Apocalypse to St. John”,” Lucifer chained by the angel “,” The elders worship the Redeemer “,” The angels mark the forehead of women “,” The Lamb and the book of the seven Seals “.
The picture of “Saint Catherine of Alexandria” is placed on the counter-façade to protect the Seat of the Monastic Superiors.
N.B. With the Diocesan Museum ticket you can take advantage of the discounted ticket in the Sacred Art circuit: church of Santa Maria della Catena, oratory of San Lorenzo, oratory of the Rosary in San Domenico and oratory of the Holy Rosary in Santa Cita, church of San Cataldo , Cathedral, cloister of the church of the Magione, oratory of San Mercurio, church of the Martorana and Palazzo Alliata di Villafranca, also from Palermo; Diocesan Museum of Monreale.
For further information: i tesori della loggia