Albenga Cathedral

A first study of the ancient early Christian structure was undertaken between 1964 and 1967, which revealed that the building had a basilica plan and was very large; during the archaeological excavation, the bases of two columns near the altar were discovered.

Thanks to the division of the Ligurian territory into marches, which gave greater importance to Albenga and its diocese, the structure was rebuilt in the 11th century in proto-Romanesque forms, with a single nave and crypt.

In the early 16th century, the Dominican Giacomo Salomonio brought attention to the ancient history of Albenga, and among the eminent scholars were Bernardo Ricci and Nicolò D’Aste.

Further modifications were undertaken in 1582 under the local bishop Luca Fieschi, prompted by the apostolic visitor Nicolò Mascardi, to adapt the structure to the new guidelines of the Counter-Reformation.

The work involved raising the floor by about one meter to align it with the level of the square in front of the church, encasing the columns in pilasters, and replacing the wooden roof with new vaulted structures.

Towards the 12th century, Albenga experienced a period of dominance along the coast, thanks to significant commercial growth and the security provided by the protection of the Holy Roman Emperor to counter Genoa.

However, the situation on the right side of the cathedral remains uncertain, where there was partially a cloister connecting it to Santa Maria in Fontibus, and it may have been used as a burial area or included a chapel.

In the Albenga statutes of 1288 and 1350, there is always a reference to the budget item for the Opera Sancti Michealis, but the amount remained roughly the same, covering lighting and ordinary maintenance work.

This work may have been funded by the will of Emanuele Cipolla, who in 1345 had requested to be buried in front of the main altar and that a crucifix be made for the cathedral with his image at its feet and various saintly figures in plaster cum picturis decentibus (with appropriate paintings).

The chapter commissioned the notary Bernabò Pognana to write a Vita Sancti Verani; the patronage of the chapel belonged to the wealthy citizen Giacomo Bausanus, who on May 18, 1442, bequeathed a sum for its restoration and for annual upkeep.

This decision was not made because Mignano was part of the governing elite of Saint Michael the Archangel, but because he was an experienced builder, to the point that the Albenga municipality entrusted him with other projects, assisted by the citizen Antonio Campeggi.

The intentions of the bishop during these years are unknown, but it is notable that Gilberto Fieschi, who held the office from 1380 to 1419, governed only through vicars, leaving the cathedral chapter to freely negotiate with the municipality.

Part of the roof over the choir was rebuilt, with the municipality granting safe passage to acquire abayni (slate tiles typical of Genoa) from the Riviera di Levante.

These works continued for several years, and in 1420, Pope Martin V granted Bishop Antonio Da Ponte the right to sell indulgences during feast days to help complete the construction.

Thanks to numerous documentary sources, we know that there were many altars scattered throughout the side aisles, some enclosed by gates and elevated structures with colonnades and pediments, adorned with paintings and polyptychs.

Luca Fieschi was elected bishop of Albenga on March 28, 1582, and the municipal administration immediately wrote to congratulate him, pledging to find funds to complete the renovation.

It is known that the tabernacle remained in place until 1697, when a new one was made two years later, probably a monstrance crafted in Genoa by the goldsmiths Camillo De Ferrari and Sebastiano Dall’Isola.

Following Monsignor Mascardi’s visit, several liturgical and structural recommendations were made, including whitewashing the facade and painting an image of Saint Michael, opening a door for symmetry under the bell tower, fencing off the presbytery, installing iron grilles on the windows, constructing a pulpit, and repairing the organ in accordance with the Tridentine guidelines.

A report dated June 13, 1592, by Gerolamo de Puteo, canon of Santa Maria in Fontibus, noted that the cathedral had been at risk of collapse but had been “honorifically restored” thanks to the bishops' work.

A visit to Rome by the canon of San Maurizio, Francesco Bruno, in 1594 revealed that the vault had been completed, the choir floor was made of octagonal slate slabs and marble squares, and the windows were fitted with stained glass and iron grilles.

Lucae Flisco Lavania comiti integ[erri]mo Albing[anensi] ep[iscop]o qui industria templum hoc cui XXVIII praefuit an[nis].

Costa ep[iscop]us et civis hic iace[n]ti perpetuum posuit - MDCXXXIII» In the second decade of the 17th century, a new organ was installed above the bishop’s chair.

In 1704, the new marble high altar was placed at the center of the Sancta Sanctorum, with a large wooden crucifix from Florence, donated by Pier Giovanni Lamberti and accepted by decree on April 28, 1706.

The establishment of the Ligurian Republic in 1797 led to the partial devastation of the cathedral: the bishop's chair and choir were burned or destroyed, and Leonardo Marchese's tomb was desecrated.

For several decades, no major interventions were made, and the cathedral had a simple appearance, featuring a plastered, bright interior highlighted by the large apse fresco and marble altars.

Inside, the decision was made to strip the columns down to bare stone and rebuild the pillars using brick and waterproof bridge cement to eliminate rising damp, a treatment that was also applied to the side facades.

The project was led by engineer De Maestri, who oversaw both the static analysis and the construction work, under the strict supervision of the Genoa Superintendency, with architectural advice from Morozzo della Rocca and historical and archaeological guidance from Nino Lamboglia himself.

Despite these deficiencies, the structure had held up well because the outer stone facing had only partially served a load-bearing function, with the internal brick masonry, built with good materials and techniques, bearing most of the load.

The pillars were constructed in a cross shape with inversely tapered arms to allow for greater light in the lower areas, minimizing the impact on the early Christian remains.

This floor, with rhomboid-shaped coffers, was designed to have minimal bearing surface on the walls of the oldest apse, allowing for better load distribution and greater structural rigidity.