THE CHURCH OF SANTA MARIA DELLA SALUTE
The church was built by the master developer of Master Fardo of Ugolino of Uffreduccio. Notary and Franciscan tertiary. The people of Viterbo, followed the teachings of St. Francis of Assisi in the town of Viterbo during the middle of 1300. Fardo gave rise to two hospitals in a short time and took care of their maintenance. Friar James of Aquapendente, inquisitor of heretical severity grants on April 15, 1313, the license for Fardo di Ugolino to build is silenced in the noble purpose. In the area of the church that was built at the time that the infamous prison of Curia and Podesta stood. Just the choice of this place leaves us to understand what the charitable intentions of Ugolino were, determined to fight the immorality of the time. The request for the construction of the church came from the bishop Angelo Tignosi, then back to 1318. The commissioner stated that for 1324 the church had to be terminated. The function of the church was to be a small chapel adjoining the hospice, which was to receive, according to the customer, sick, single mothers and prostitutes converted to Christianity. The idea of Farbo did not have good results so he left Viterbo in 1324, retiring on the Cimini mountains, and there he erected a new hospital for the sick. The charity built by Ugolino after his death in 1350 was arousing discontent of the poor for the little assistance and the wastefulness of the poor. Until you get to a bull of Martino V entrusted to the Charity Lawyers, Attorneys, and Notaries. Today the church belongs to the legal system of Viterbo. Inside the church there is a tombstone with a crudely carved figure of Master Fardo a cassock with a chest with an inverted triangle divided by two horizontal bars and an internal cross. The composed triangle appears several times in the figures, represents most likely the seal of the Hospital of Santa Maria of Salute where the Franciscan Third Order members do the works of mercy Abandoned in 1324, restored and reopened in 1934. Today the church is often used as an exhibition hall.
The rectangular gothic styled façade is a two tone pink and white with a diamond band and a splayed doorway with alternating smooth and twisted plates. On the jamps of the portal we find an elegant vine that surrounds medallions made of marble with the Seven Acts of Mercy, to the left the corporal ones and to the right the spiritual. Every character of the representation of the acts of mercy has a pinned little badge on the chest with horizontal stripes. Perhaps it was done by the same creator of the represented subjects, Fardo. The purpose of the representations is to educate the faithful. Between the representations we quote l’Istruire gli Ignoranti (Educate the Ignorant), in which there is a representation of the Master and his disciples in a school of a cathedral while he enhances the elevation of the spirit through study and teaching. L’Alloggiare I pellegrini (Host of the Pilgrims), numerous in the city of Viterbo crossed by Via Francigena and at the same time on the road to Rome to the Jubilee. The two scenes: the Discesa di Cristo al Limbo and Dar da ber agli assetati are deteriorated. The figures reproduce the fourteen charitable characters. They are presented with a style that intends to enhance the narrative through symbolic figures. Above there is a depiction of Christ and the Virgin enthroned, behind a curtain is held up by angels. We can find closer references to representations of this time in the Orvieto. Area. The shrine on the left sides shows Saint Ivone in front of Saint Ignazio who is writing a book of his spiritual exercises. The shrine was donated by the Advocate Serpieri to his colleagues in 1745.
Tempietto a pianta centrale quadrilobata. All’interno la chiesa si presenta spoglia di ogni arredo liturgico. L’interno della chiesa si presenta di forma nuova per il panorama architettonico del luogo e del periodo. Le pareti ricurve formano delle esedre terminano a semicupola delimitate in alto da cornici marcapiano e lateralmente da pilastri con capitelli. La volta è quadripartita costolanata, ogni vela è delimitata da un arco di inquadramento a tutto sesto. Al centro della cupola è un ovulus. The church is a small temple with a central quatrefoil layout. Inside, the church is stripped of all liturgical pieces of furniture. The inside of the church is presented in a newer form in contrast to the architectural landscape of the period and place. The curved form of the walls from the exedras, bounded above by half dome string-courses and laterally by columns with capitals. The vault consists of four ribbed parts, with round arches. In the center of the dome there is an ovulus. Above the current lunettes there are two architrave trefoil openings, below these two single-light windows they had to include two side openings with the architrave supported by brackets. On the floor there is a tombstone of Maestro Fardo. His figure lies with his hands crossed on his right shoulder and with a coat of arms with a double cross and in gothic font “Sepulchrum/ magistri Fardi.” Near there is an epigraph carved in lava stone on the tombstone of the legal counsel Alberto Mastrio, who died in 1644, with the writing: Alberto Mastrio / I.V.D. [iuris utriusque doctor] / locum.tî / integerrimo / collegium / posuit / obiit an. D.ni / MDCXLIIII.
SANTA MARIA DELLA SALUTE, Santa Maria della Salute Church: Traduzione di Alicia Bertram, University of New Mexico, Albuquerque e Veronika Melnick Seattle University. Programma USAC presso Università degli Studi della Tuscia.
G.Mazzaroni, La chiesa di S.Maria della Salute, in Bollettino Municipale, Nov. 1933, XII, p. 3-12
AA.VV., Il Centro Storico di Viterbo, Betagamma Editore, Viterbo, 2001
Lazio, Touring Club, Touring Editore, Milano, 2005