The eighth one, finally, depicts “[[Assumption of Mary|The Assumption of Mary]]” (L’Assunzione di Maria) after her death in heaven.
The eighth one, finally, depicts “[[Assumption of Mary|The Assumption of Mary]]” (L’Assunzione di Maria) after her death in heaven.
This artwork could also be realized especially thanks to the donation made by Joe Vumbaca, a local inhabitant who emigrated to America.<ref>https://calabria.live/a-siderno-si-e-parlato-della-porta-bronzea-di-correale/</ref>
In 2017, thirty years from its realization, the portal was restored <ref>https://www.ntacalabria.it/reggio-calabria/siderno-torna-risplendere-portale-bronzo-giuseppe-correale.html</ref>. The restoration was made to remove the several layers of dust that had settled over the years on the bronze panels.
In 2017, thirty years from its realization, the portal was restored <ref>https://www.ntacalabria.it/reggio-calabria/siderno-torna-risplendere-portale-bronzo-giuseppe-correale.html</ref>. The restoration was made to remove the several layers of dust that had settled over the years on the bronze panels.
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The Church of Saint Mary of Portosalvo (1841) is located in Siderno in Reggio Calabria, Calabria, southern Italy.
The Church of Saint Mary of Portosalvo existed before 1841. In 1783 southern Calabria was hit by an intense earthquake that started a long seismic period; it was described as the biggest catastrophe that struck the South in the 18th century [1].
On May 19, 1846, the Royal Family of Naples—King Ferdinand II, Maria Teresa of Austria, and the future King Francis II of the Two Sicilies —visited the area. After arriving in Siderno aboard a steam frigate, they traveled to Agnana to tour a recently opened coal mine. That afternoon, they returned to the port, where they were welcomed by Bishop Perrone and then proceeded to the church. Their presence deeply impressed the public, who were moved by the royal family’s display of devotion. However, the royal visit and the large crowd it attracted once again highlighted a longstanding issue: the church was far too small to accommodate such gatherings.[2]
The earthquake in 1783 was not the only catastrophy that happened to the church, another earthquake called the Messina earthquake happened in 1908 and a fire damaged it 13 years later. It took two years to repaire the burned down church so it could be used again.[3]
The Church of Saint Mary of Portosalvo in Siderno, has a Baroque style and a facade made of pietra serena, Its current structure dates back to the late 19th century, when the old church was demolished to make way for a nwe Neoclassical building designed by Andrea Scala.
The Church of Saint Mary of Portosalvo is decorated by a wooden statue of Saint Mary also called Our lady of Portosalvo. This statue has been created in 1819. The sculptor behined this statue is Francesco Verzella.[4]
The portal of the church, made of bronze in 1987 by the local architect Giuseppe Correale, is divided in 8 panels. Among these, the first four describe episodes of Marian Theology[5].
The first one “The Angel’s Annunciation” (L’annunciazione dell’Angelo), describes the moment angel Gabriele told the Virgin Mary that she was going to become Jesus’ mother.
The second panel depicts “The Nativity of Jesus” (La Natività di Gesù), which happened between 7 and 6 b.C, while the third one, “The Flight into Egypt” (La Fuga in Egitto), represents the invitation made by an angel to the Holy Family to escape from the massacre of the innocents.
The forth panel recalls “The Visitation of the Blessed Virgin Mary” (La Visitazione della Beata Vergine Maria) to her relative Elizabeth, after she received the announcement.
The other four panels, instead, represent other religious episodes of great interest.
In panel five, “The Wedding at Cana” (Le Nozze di Cana), it is remembered the first miracle of Jesus.
The sixth panel describes “The Deposition from the Cross” (La Deposizione dalla Croce), while the seventh one, “The Pentecost” (La Pentecoste), recalls the feast of the Holy Spirit.
The eighth one, finally, depicts “The Assumption of Mary” (L’Assunzione di Maria) after her death in heaven.
This artwork could also be realized especially thanks to the donation made by Joe Vumbaca, a local inhabitant who emigrated to America.[6]
In 2017, thirty years from its realization, the portal was restored [7]. The restoration was made to remove the several layers of dust that had settled over the years on the bronze panels.
Saint Mary of Portosalvo Celebrations
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The parish of Saint Mary of Portosalvo has a lot of celebrations throughout the year, mostly from the end of august to the beginning of september.
These festivities include both religious and non religious celebrations[8]
In 1819, a valuable wooden statue was commissioned from the Neapolitan sculptor Francesco Verzella. That same year, King Ferdinand IV of Bourbon issued a Royal Decree allowing Marina di Siderno to hold a fair in honor of its patron saint, scheduled from September 4th to 8th.
It appears that even in the early 19th century, the celebration—closely tied to the fair—was already a significant and well-attended event.
Focusing on the fair itself, the goods on offer were not imported items but rather products brought in by local and regional merchants. These traders came from nearby areas, though not always immediately neighboring the town. Among them were the argagnari from Seminara, known for their pottery, and the casciari from Serra San Bruno.
The items sold were primarily everyday household goods: clay and terracotta objects, amphorae, jars, storage containers, and fresh produce. In many cases, the transactions were not sales in the strict sense but rather bartering—potatoes, legumes, and imported beans were exchanged for lemons, olive oil, and salted anchovies. Shifting from the religious and liturgical aspects to the more secular dimension, the historians highlights how the festival has evolved over time, taking on a markedly commercial character. Nevertheless, it is undeniable that the religious component continues to hold a central role. Despite the growing presence of commercial activities, religious celebrations still retain their primacy over all other forms of festivity.
Today, the festival is a major event that preserves two key components: one religious, the other secular.
The religious aspect centers around the procession on September 7th, during which the statue is carried to the shore of the Ionian Sea. This is followed by a regatta and a mass celebrated on the beach—a deeply anticipated moment for the local community. The natural beauty of the surrounding landscape, enhanced by the colors of the sunset, creates a striking and emotional backdrop for the event. On the following day, September 8th, a solemn and heartfelt procession accompanies the statue through the main streets of the city.
In terms of worship in the strict sense, each evening from August 30th to September 7th is marked by “the hour of company” (l’ura i cummari), a time of communal prayer, hymns, and reflections often recited in dialect. Central to this moment are the meditations and invocations written by Monsignor Raschellà in the 1940s, just after the war—texts that convey not only deep spiritual meaning but also powerful social messages.[9]
