STAINED GLASS WINDOWS OF SANT'ANGELO LODIGIANO
STAINED GLASS WINDOWS OF SANT'ANGELO LODIGIANO
The study of lead-bound stained-glass windows, initiated by Father Costantino Ruggeri in the 1960s with various experiences in numerous architectural spaces, led to research into the creation of new forms and expressions in the early 1970s, in episodes that were significant for the scale of the works and the relevance of the locations.
An awareness of the importance of light filtering through the stained-glass window grew in Father Constantine during those years, releasing a force capable of charging the space with a mystical atmosphere. The free forms typical of contemporary art creativity were for him a way of speaking to the human heart with immediacy and truth.
In 1973, a competition was announced by the S. Angelo Lodigiano hospital administration to embellish the chapel with stained glass windows. The theme to be represented was the story of salvation.
P. Costantino took part and interpreted moments and motifs dear to religious iconography with expressiveness typical of contemporary art, but with a completely renewed vision.
It was a matter of bringing into the drawings, compositions, representations, a new spirit, a courageous song to spontaneity, freedom and imagination.
The competition was won and the stained glass windows were executed in the spring of 1974.
The cycle on display initially depicts the creation: the sun, the verdant mountains, the waters, the shoots of the earth, in a riot of colours intended to communicate primordial harmony. In this first sequence, the presence of the Spirit stands out in a large luminous disc hovering in the blue sky.
A human figure then appears in the centre of the composition and in a ray of light the sign of the cross, a symbol of redemption and salvation for all mankind.
Next to the sign of the cross is the name of Mary, she who generated the Word of Life, in a blue halo.
In the stained-glass window 'The Perfect Praise of Creation', created in 1974 in antique leaded blown glass. The composition is articulated in an articulation of colours and signs in an alternation of forms that dialogue with each other, juxtaposing harmoniously in a chromatic texture of great visual impact, in a diaphragm irradiated by light.
"I am the light of the world, he who follows me will have the light of life" ( Jn 8:12)
Sunlight passing through the glazing changes intensity, brightness and direction at different times of day, in different seasons, in different climates. A light path that is never the same.
In the stained-glass window 'The Perfect Praise of Creation', created in 1974 in antique leaded blown glass. The composition is articulated in an articulation of colours and signs in an alternation of forms that dialogue with each other, juxtaposing harmoniously in a chromatic texture of great visual impact, in a diaphragm irradiated by light.
"I am the light of the world, he who follows me will have the light of life" ( Jn 8:12)
Sunlight passing through the glazing changes intensity, brightness and direction at different times of day, in different seasons, in different climates. A light path that is never the same.
