The public institution and its structure

From this point on, the most recent history of the Constantinian Order began. In 1860 the Order's assets were merged with those of the Order of Saints Maurice and Lazarus of the House of Savoy. This merger, however, upset the citizens of Parma greatly. The situation came to a head in 1912, when a commission of representatives of the city and province was appointed. In 1913 the commission presented an appeal to the Grand Magistery of the Order of Saints Maurice and Lazarus and regained the patrimonial autonomy of the Constantinian Order. Then, in 1922 there was a total scission with the Magistery of the Order of Saints Maurice and Lazarus. The Order was able to return to Parma as an autonomous legal entity with its own Board of Directors (R. D. 5th February 1922, n° 186). This was definitively approved by the Provisional Head of State, Hon. Enrico De Nicola, with the decree of 6th September 1946, confirming the legal status of the institution and its administrative bodies: the General Council and the Executive Board.

GENERAL COUNCIL
  1. President of the General Council
  2. Bishop
  3. Mayor
  4. Prefect
  5. President of the Court
  6. President of the Province
  7. Superintendent
  8. Revenue Officer
  9. Director of the Hospital Trust
  10. Rector of the University
  11. Four life councillors
EXECUTIVE BOARD Made up of five members, including a President, a Vice President and a secretary.

The Constantinian Order is therefore a public institution with the following purposes:

WORSHIP: indeed, it must ensure that liturgical functions are carried out regularly in the Chiesa Magistrale, and guarantee their protection and propriety.
CHARITY: even in the 18th century statutes, we read that the Constantinian Knights were required to defend and give help to the poor, widows, children and monks and nuns. From Francesco Farnese up to Marie Louise, the Order continued to help support the Ospedale della Misericordia in Oltretorrente, as well as donating dowries to poor young women who wished to marry. Even today, the Order wishes to continue this tradition of care and generosity. It has already set up scholarships, it has set aside funds for a hospital in Uganda and donations to rehabilitation communities.
CULTURE: Since the Constantinian Order is so rich in history, and as it has made its remarkable heritage available to be visited by the public, it must continuously restore the works of art it owns and maintain its most important property: the Chiesa Magistrale della Steccata.


HERITAGE
The Constantinian heritage consists of bequests and donations from members of the Order and wealthy citizens. Traditionally, all of the benefactors requested that a Holy Mass be celebrated for them and their loved ones in exchange for their generosity. This desire is still respected today: in fact, there are around 500 celebrations each year. Among the Order's property is the CHIESA MAGISTRALE SANTA MARIA DELLA STECCATA, which originated as a small Oratory in the San Barnaba road, which is now Via Garibaldi. The Oratory was dedicated to St. John the Baptist and dated from the 14th century. A Madonna nursing the Child was painted on the wall of the Oratory in the 15th century. This simple, familiar image recalled how each of us is the child of this loving Mother. The image soon became considered as miraculous, and to protect it from the excitement of worshippers, a fence ("steccato") was built around it. This explains why, from 1483 onwards, the Oratory became known as "Santa Maria de la Stachata".








The increase in worshippers and subsequent demolition of one third of the Oratory following the widening of the San Barnaba road meant that it was necessary to build a larger church to cater both to its image and to the rising number of faithful. It was decided to build the new edifice in a nearby area occupied by the Cantelli family's palazzo and the dilapidated church of Saint Matthew. They were both demolished to make way for the building site. Work began in 1521 and continued until 1539. On the 24th February of that year there was a celebration to mark the solemn transferral of the image to its "new home".

Today, this church continues to be visited by a constant flow of worshippers and tourists. It is the city's "civic temple", meaning that all the civic authorities gather here for their celebrations.

ARCHITECTURE
The building is a striking jewel of the Renaissance, and was designed by Bernardino Zaccagni. It's no coincidence, however, that Leonardo-style touches can be found in it. Indeed, we know of studies that Leonardo did for circular-plan buildings; these were illustrated in several sketches that are very similar in appearance to the Chiesa Magistrale. We also know that the artist had frequent contact with our city. It is well known that he stayed in Parma in 1514 at the Albergo Campana, and that he had a close friendship with the noble magistrate Alessandro Carissimi, whose hands he used as the model for those of Christ in the Last Supper. Let us also not forget the relationship between Leonardo and Giuliano de'Medici, who was at that time Governor of Parma. It is possible that in order to ingratiate himself with the powerful Confraternity of the Steccata, Medici commissioned Da Vinci to provide a draft plan of the new church.
The building's beauty has led it to being linked to another illustrious architect: Bramante. It is thought that the Steccata repeats an early design that the artist made for St. Peter's in Rome. Even if that is not the case, many believe that he had some influence on the process of building this church.







PAINTINGS
Many artists contributed to the interior of the Steccata: from Michelangelo Anselmi to Girolamo and Alessandro Mazzola Bedoli, from Gian Battista Cignaroli to Malosso. However, the most famous name to have "trodden" the scaffolding was undoubtedly Parmigianino who, after working on San Giovanni Evangelista and the Rocca Sanvitale in Fontanellato, applied his genius to the Constantinian church from 1531 to 1539. In the large arch above the High Altar he painted the Wise Virgins and the Foolish Virgins in a triumph of colour and tricks of perspective, powerfully interpreted by the monochrome statue-figures of Adam, Eve, Moses and Aaron.





The Steccata church  

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