L’ADEGUAMENTO LITURGICO DEL PRESBITERIO DELLA CATTEDRALE DI FAENZA (2014)
L’adeguamento liturgico della Cattedrale di Faenza è stato realizzato 25 anni dopo l’esito del Concorso Nazionale che non aveva avuto alcun esito esecutivo.
Liturgista: prof. don Ugo Facchini
Pubblicazioni:
- G. Gualdrini: “Adeguare o distruggere? Note in margine all’adeguamento liturgico della cattedrale di Faenza“, in “Torricelliana” n. 65 (Edit, 2014)
- G. Gualdrini: ” Fra traditio e renovatio. L’adeguamento liturgico della cattedrale di Faenza” in “Arte Cristiana” n.893 (Milano, 2016)
- P. Gilbert: “Arte, sacralità, santità. Su alcune opere di Claudio Parmiggiani, Simon Hantai, Giorgio Gualdrini” in “Parola silenzio musica. Arti e chiesa nel contemporaneo” a cura di A. Rizzi (Clueb Bologna, 2016)
The National Competition, launched by the Diocese of Faenza for the liturgical adaptation of the cathedral’s presbytery, dates from 1989. In the project that won the competition, but which did not see the light of day, the architect Giorgio Gualdrini planned to place the new square altar under the dome. Twenty-four years later, the same architect, while welcoming the new indications given by the Diocese, continues in his desire to draw inspiration from the mathematical precision that in 1474 Giuliano da Maiano chose for the cathedral. A predominant “esprit de géométrie”, allied to a sense of measure and discretion, pervades every aspect of the project. The “versus populum” altar has a square base and an elevation whose proportion comes from the “golden section”. A refusal of all forms of mimicking or sculptural ostentation has led the author to do no more than cut a simple stylised cross into the front side, with its inclined arms evoking the deposition of Jesus. They delineate an “upturned arc” which, projected into space, traces a curved line as far as the ambo and paschal candle. A reading of Genesis 2, 8-12 determined the choice of the material for the new liturgical furnishings, resting on the level of the walkway so as to allow for their reversibility, that is a white-coloured onyx stone, worked – in the recesses – with fine streaks of gold leaf. In the cross cut into the altar a drop of red jasper (The Apocalypse 21, 18) is set to evoke the wound in Christ’s side as he hung on the cross.
