Monument to the Redeemer

2 Minutes of reading

At the end of the 19th century, with the fall of the Papal States, the anticlerical laws, the victory of the left, and a wave of strikes, the Catholic Church faced a period of great difficulty.

Monumento al Redentore

Pope Leo XIII wrote the encyclical Rerum Novarum with the awareness that the Church needed to take charge of social issues. With this in mind, a Roman committee formed to celebrate the Jubilee of 1900 decided that nineteen monuments to Jesus Christ the Redeemer should be built in all the Italian regions, as nineteen centuries had passed since the Redemption. Another monument was later added, to dedicate the upcoming twentieth century to Christ as well.

For Sicily, several cities and towns applied, but Canon Francesco Pulci succeeded in promoting the idea of building the monument to the Redeemer in Caltanissetta. After the long period of economic crisis affecting the whole of Sicily, Caltanissetta was the only city that could boast an industry (sulfur mining) that, despite its ups and downs, could support such an expense. Funds were collected, and the bronze statue was commissioned from the Roman company Rosa and Zanazio, while the pedestal was entrusted to the Palermo architect Ernesto Basile.

 

The bronze statue, over five meters tall, was transported from Rome by train. On the morning of July 30, the statue arrived at the square on Mount San Giuliano, a hill overlooking the city, transported by an ox-drawn cart amidst the sound of fireworks, festive bells, and applause from the people of Caltanissetta who, despite the early hour, had climbed the hill to witness the historic arrival. But just in those days, the anarchist Bresci assassinated King Umberto in Monza with a gunshot. All of Italy entered a month of mourning, and the inauguration, originally scheduled for the end of August, was postponed to September 29, coinciding with the feast of Saint Michael, the patron saint of the city.

Of the nineteen planned monuments, only five or six actually depicted Christ the Redeemer; the others, due to economic and logistical difficulties, were replaced with votive chapels placed on Italian peaks and hills.

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