L\u2019\u00e9l\u00e9ment le plus prestigieux est la fa\u00e7ade, qui refl\u00e8te les directives de San Carlo Borromeo, \u00e9v\u00eaque de Milan, selon lequel la fa\u00e7ade devait transmettre le message initial aux fid\u00e8les qui s\u2019appr\u00eataient \u00e0 franchir le seuil de l\u2019\u00e9glise.<\/p>\n
L\u2019int\u00e9rieur se compose d\u2019une seule nef centrale se terminant par le ch\u0153ur, lequel est d\u00e9limit\u00e9 par une balustrade. Le ma\u00eetre-autel abrite un retable entour\u00e9 d\u2019un cadre en stuc.<\/p>\n
Deux autels ont \u00e9t\u00e9 am\u00e9nag\u00e9s dans les murs lat\u00e9raux, l’un d\u00e9di\u00e9 \u00e0 Saint Fran\u00e7ois d’Assise<\/strong> et l’autre \u00e0 Saint Antoine de Padoue<\/strong>. Deux pr\u00e9cieuses statues, plac\u00e9es dans des niches et r\u00e9alis\u00e9es par le sculpteur d\u2019Arogno Giovanni Antonio Colomba,<\/strong> repr\u00e9sentent Saint Michel et Saint S\u00e9bastien<\/strong>.<\/p>\nSan Rocco<\/h3>\n
En raison de sa profonde d\u00e9votion \u00e0 la Vierge Marie, l\u2019image de San Rocco est souvent pr\u00e9sente aux c\u00f4t\u00e9s des repr\u00e9sentations de la Madone. Il est repr\u00e9sent\u00e9 v\u00eatu d\u2019un tabard (grande cape) surmont\u00e9 d\u2019une p\u00e8lerine (petite cape couvrant les \u00e9paules), sur laquelle est fix\u00e9e une coquille qui lui servait \u00e0 puiser de l\u2019eau.<\/p>\n
Dans sa main droite, il tient le bourdon (b\u00e2ton de p\u00e8lerin). Il porte souvent une gourde ou une besace en bandouli\u00e8re. Sur sa jambe droite, on peut voir la plaie provoqu\u00e9e par la peste. \u00c0 ses pieds, un petit chien tenant un morceau de pain dans sa gueule rappelle la p\u00e9riode de son isolement dans une grotte, durant laquelle il fut secouru par un chien qui le nourrissait quotidiennement. San Rocco est le protecteur des malades, des voyageurs, du personnel soignant et des b\u00e9n\u00e9voles.<\/p>\n
La peste de 1630<\/h3>\n
L\u2019\u00e9pid\u00e9mie de peste bubonique qui s\u00e9vit dans toute l\u2019Europe entre 1629 et 1633, narr\u00e9e par Alessandro Manzoni dans son c\u00e9l\u00e8bre ouvrage \u00ab Les Fianc\u00e9s \u00bb, fut tristement c\u00e9l\u00e8bre. Le Duch\u00e9 de Milan fut l\u2019une des r\u00e9gions les plus durement touch\u00e9es. En Italie septentrionale, ce sont au total 1 100 000 personnes qui p\u00e9rirent sur une population d\u2019environ 4 millions d\u2019habitants. Apr\u00e8s son extinction, des oratoires, des \u00e9glises, des chapelles, des tabernacles et des colonnes votives furent \u00e9rig\u00e9s partout afin d\u2019en conjurer le retour.<\/p>\n
Constante Tencalla<\/h3>\n
Fils de Pietro Antonio (Giovan Pietro) et de Lucia Castelli, il na\u00eet \u00e0 Bissone<\/strong> vers 1590 et meurt \u00e0 Varsovie en 1646. En 1620, il \u00e9pouse Marta Porro. Tailleur de pierre puis sculpteur, il travailla \u00e0 Rome dans l\u2019atelier de Carlo Maderno (1610-19, Saint-Pierre et le Ch\u00e2teau Saint-Ange). En Pologne, \u00e0 partir de 1630 environ, il fut architecte royal \u00e0 Varsovie. Il fut particuli\u00e8rement actif \u00e0 Vilna. Il r\u00e9alisa entre autres le projet du clocher de la coll\u00e9giale de San Lorenzo \u00e0 Lugano<\/strong> (1632-33).<\/p>\nLa fa\u00e7ade<\/h3>\n
La fa\u00e7ade est divis\u00e9e verticalement par quatre l\u00e9s\u00e8nes, aux extr\u00e9mit\u00e9s desquelles se d\u00e9tachent des chapiteaux richement orn\u00e9s. Un fronton triangulaire, au-dessus duquel tr\u00f4ne une statue de la Vierge, la couronne vers le haut. Au centre de la fa\u00e7ade, sous la grande fen\u00eatre qui \u00e9claire la nef, est plac\u00e9e la statue de San Rocco<\/strong>, auquel l\u2019oratoire est d\u00e9di\u00e9. Dans les deux niches lat\u00e9rales sont ins\u00e9r\u00e9es deux statues en stuc repr\u00e9sentant l\u2019une un saint \u00e9v\u00eaque, l\u2019autre un saint moine, tous deux non identifi\u00e9s.<\/p>\nDans l\u2019esprit de la Contre-R\u00e9forme, la fa\u00e7ade se devait d’\u00eatre lin\u00e9aire et harmonieuse, sans ornements excessifs, enrichie avec sobri\u00e9t\u00e9 par des statues de saints chers \u00e0 la population locale ou par des figures all\u00e9goriques.<\/p>\n
Le ma\u00eetre-autel et le retable<\/h3>\n
Le ma\u00eetre-autel se distingue par un retable ins\u00e9r\u00e9 dans un cadre en stuc, surmont\u00e9 d\u2019un fronton incurv\u00e9 interrompu en son centre par un cartouche.<\/p>\n
Le retable repr\u00e9sente Saint Dominique<\/strong> (\u00e0 gauche) et Sainte Catherine<\/strong> (\u00e0 droite), agenouill\u00e9s devant la Vierge, entour\u00e9e d\u2019anges et d\u2019une guirlande d\u2019images relatives aux Myst\u00e8res du Rosaire. Derri\u00e8re eux figurent San Rocco<\/strong> (\u00e0 gauche) et Saint Fran\u00e7ois<\/strong> (\u00e0 droite).<\/p>\n<\/div><\/div><\/div>![\"\"](\"data:image\/svg+xml,%3Csvg%20xmlns%3D%27http%3A%2F%2Fwww.w3.org%2F2000%2Fsvg%27%20width%3D%27328%27%20height%3D%27437%27%20viewBox%3D%270%200%20328%20437%27%3E%3Crect%20width%3D%27328%27%20height%3D%27437%27%20fill-opacity%3D%220%22%2F%3E%3C%2Fsvg%3E\")
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D\u2019un int\u00e9r\u00eat particulier est l\u2019agglom\u00e9ration au centre du tableau, qui repr\u00e9sente Bissone telle qu\u2019elle se pr\u00e9sentait en 1640, date de r\u00e9alisation de l\u2019\u0153uvre, attribu\u00e9e au peintre d\u2019origine g\u00e9noise Giovanni Maria Arduino (1580-1647).<\/p>\n<\/div><\/div><\/div>
![](\"https:\/\/vedibissone.ch\/wp-content\/uploads\/2025\/06\/VEDI-BISSONE-ORATORIO-SAN-ROCCO-Particolare-della-pala-daltare.jpg\" "\\"VEDI-BISSONE-ORATORIO-SAN-ROCCO-Particolare-della-pala-d\u2019altare\\"")
<\/span><\/div><\/div><\/div>D\u00e9tail du retable repr\u00e9sentant l\u2019agglom\u00e9ration de Bissone en 1640.<\/p>\n<\/div><\/div><\/div><\/div><\/div>
La toile a une ressemblance frappante avec une \u0153uvre similaire ins\u00e9r\u00e9e dans la chapelle de la Madonna del Rosario, dans l\u2019\u00e9glise de Santo Stefano di Arogno.<\/p>\n
A droite et \u00e0 gauche de l\u2019autel, appuy\u00e9es sur des \u00e9tag\u00e8res, se trouvent les statues en stuc de Saint Jean-Baptiste et de Saint Carpoforus.<\/p>\n
San Michele et San Sebastiano<\/h3>\n
Dans des niches am\u00e9nag\u00e9es dans les murs lat\u00e9raux sont plac\u00e9es deux remarquables statues en stuc du sculpteur d\u2019Arogno Giovanni Antonio Colomba, \u00e9galement auteur des stucs de la chapelle de la Vierge du Rosaire dans l\u2019\u00e9glise paroissiale d\u2019Arogno.<\/p>\n
R\u00e9alis\u00e9es entre 1636 et 1644, elles repr\u00e9sentent Saint Michel terrassant le d\u00e9mon et Saint S\u00e9bastien.<\/p>\n<\/div>
![](\"https:\/\/vedibissone.ch\/wp-content\/uploads\/2025\/06\/VEDI-BISSONE-2-ORATORIO-DI-SAN-ROCCO-SAN-MICHELE-SAN-SEBASTIANO.jpg\" "\\"VEDI-BISSONE-2-ORATORIO-DI-SAN-ROCCO-SAN-MICHELE-SAN-SEBASTIANO\\"")
<\/span><\/div>San Michele\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 San Sebastiano<\/p>\n<\/div>
San Michele\u00a0 \u00a0 \u00a0 \u00a0San Sebastiano<\/p>\n<\/div>
Autels lat\u00e9raux \u00a0<\/span><\/b>\u00a0<\/span><\/h3>\n<\/div>Les deux autels lat\u00e9raux pr\u00e9sentent une structure similaire, caract\u00e9ris\u00e9e par des colonnes en faux marbre surmont\u00e9es d\u2019un fronton curviligne et reposant sur des pi\u00e9destaux. Une niche centrale abrite le saint titulaire. L\u2019autel de gauche est d\u00e9di\u00e9 \u00e0 Saint Fran\u00e7ois d\u2019Assise ; il fut commandit\u00e9 en 1652 par le capitaine Francesco Tencalla. Celui de droite accueille Saint Antoine l\u2019Ermite (ou Antoine le Grand) et fut r\u00e9alis\u00e9 en 1651 par Giovanni Tencalla, comme en t\u00e9moignent une inscription situ\u00e9e sous la niche et les armoiries de la famille dans la partie sup\u00e9rieure.<\/p>\n<\/div><\/div><\/div>
![\"\"](\"https:\/\/vedibissone.ch\/wp-content\/uploads\/2025\/06\/VEDI-BISSONE-2-SAN-ROCCO-Altari-laterali-2.jpg\")
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<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":6374,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"100-width.php","meta":{"footnotes":""},"class_list":["post-6373","page","type-page","status-publish","has-post-thumbnail","hentry"],"yoast_head":"\n
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