striking hill town of Loreto lies just inland from the Adriatic
Sea and is one of the world's most important shrines to the cult
of the Virgin Mary. The town mainly exists to service the
thousands of pilgrims who travel here from around the world.
The great dome of the Sanctuario della Santa Casa dominates the
countryside for miles around; below it stands the focus of piety
- the rustic cottage from Nazareth that witnessed the
Annunciation and the childhood of Jesus (see the tradition of
the Holy House below).
Although the Santa Casa arrived, according to tradition, in
1294, it was not until 1507 that the Church finally approved of
Loreto as a place of pilgrimage, though work on the church had
begun in 1468. It was Pope Julius II who decided to pull out all
the stops and give the primitive cottage a fit setting.
The result is a showcase of work by many of the most celebrated
names of Late Renaissance Italy and gives even the unbeliever
good reason to come here. Started on Gothic lines, later
architects including Bramante and Sansovino gave the church a
thorough Late Renaissance treatment.
Inside, under the dome, is the great marble facing that protects
the Holy House, carried out in the 16thC to Bramante's designs
by the great medal-designer Gian Cristoforo Romano, Andrea
Sansovino and Antonio da Sangallo the Younger. Note how around
its base centuries of kneeling pilgrims have worn furrows in the
The curious statue within the walls of the Santa Casa of the
Black Madonna of Loreto is a modern copy of the original
destroyed in a fire in 1921; some claim that the tradition of
the Black Madonnas to be found in many famous shrines is a
reference to the prophetic line referring to Mary in the Song of
Solomon, "I am black, but comely"; others more prosaically point
out that the statues were often carved in dark hardwoods, later
further blackened by the smoke of votive candles.
At the bottom of the right nave are the church's greatest
artistic treasurers - gem-stone coloured frescoes in the
Sacristy of St Mark by Merlozzo da Forli', and Luca Signorelli's
noble frescoes in the nearby Sacristy of St John. Piazza della
Madonna, the elegant set-piece square with a delicate Baroque
fountain that fronts the Sanctuary is flanked on two sides by
the arcades of the 16thC Palazzo Apostolico.
The Museo-Pinacoteca inside preserves a fine group of late works
by Lorenzo Lotto (the Venetian master retired and died in the
monastery here in 1556) and an unusual collection of Renaissance
ceramic pharmacist's jars. Hidden away in a corner are also some
70 carved blocks of box-wood used until the 1940's to stamp
designs on pilgrims bodies which were then indelibly tattooed as
permanent souvenirs of their pilgrimage to Loreto.
The tradition of the Holy House
The simple cottage at Nazareth where the Annunciation took place
and were the Holy Family lived, so the legend goes, was borne
away by angels in 1291 as the Saracens descended on the Holy
It first arrived on a hill in Dalmatia. Here it stayed until the
10th of December 1294, when it was again miraculously moved,
this time across the Adriatic Sea to a laurel grove (Latin
lauretum, hence Loreto) infested by bandits.
Its final resting place, though, was a few miles away in the
middle of a public highway on the top of the hill of Loreto.
Experts in our more sceptical age now suggest that the bricks of
Mary's house were brought from Palestine in the ships of the
To this day the marchigiani light enormous bonfires on the eve
of the 10th of December, the Feast of the Translation of the
Holy House, to help the Santa Casa on its way.