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In Italy, among the most important Shrines built in honor of St. Joseph, without a shadow of a doubt that of San Giuseppe Vesuviano stands out. What are the origins of this Shrine and how did its consecration to St. Joseph come about?
Its origins date back to 1622, the year in which land was donated for the building of a small church, located in the central square, dedicated to St. Joseph, which in fact gives the locality its name .
By deed of the notary Altomando di Ottajano, on September 4, 1622, a local citizen, Scipione Boccia, who was very devoted to the saint, made a gift of a plot of land to the University of Ottajano to build a church there, to be dedicated precisely to St. Joseph.
In 1683 it was converted into a parish, and during the course of the eighteenth century plans were made to build a larger church to accommodate the city's growing population. It was only at the beginning of the 20th century that a monumental shrine was thought of to be consecrated to the patron saint following the example of that of Pompeii.
The design of the Sanctuary of St. Joseph was made by engineer Francesco Foschini and is of classical-basilical layout, with a Latin cross and three naves. Striking is the imposing façade and bold dome, while inside equal majesty is rendered by the rows of columns from the precious high altar, stained glass windows and paintings.
But let us see in detail the main elements and works that can currently be admired inside and outside this striking shrine.
The white and monumental facade, built in 1926 by architect Guglielmo Raimondi in the neoclassical style, is a real jewel. One is fascinated by its elegance that soars to a height of more than 30 meters, the point where it culminates with the statue of St. Joseph holding the baby Jesus in his arms. On the sides are statues of Saints Joachim and Anne, St. Bernardine of Siena and St. Teresa of Avila. Also installed are statues of the holy bishops of the Church of Campania: on the left St. Gennaro (patron saint of Naples, in the act of defending against the eruptions of Vesuvius) and on the right St. Paulinus of Nola, with a blessing hand. Also very striking is the high relief depicting the flight into Egypt, located in the large tympanum under the cornice: St. Joseph and the angel protect Mary and Jesus on their way to exile. Again, between colossal granite columns, one can admire the Archangels: on the left, in the niche, St. Michael defeating the serpent symbolizing the devil; on the right, St. Gabriel as he announces the future birth of the Savior. In the central part, precisely under the triumphal arch, it is possible to admire the marble group of the wedding between Joseph and Mary, inspired by Raphael and of clear Renaissance influence.
As already mentioned, it has a Latin cross plan with three naves and covers an area of 1,500 square meters. Raised in 1905, we find 14 monolithic Baveno granite columns topped by Corinthian-style capitals that divide three naves with wide arches. The vault is barrel vaulted and has sails originating from the large, bright windows located on the cornice. On the aisles we also find a series of eight graceful small domes. Inside the Sanctuary of St. Joseph it is possible to admire beautiful stucco decorations, the work of Gaetano Cappa (1929).
In the center, standing 50 meters high, soars the dome, with its 10-meter-diameter drum, on whose sails are depicted the four evangelists with traditional symbols: Mark and the lion, Matthew and the angel, John and the eagle, and Luke and the bull. Placed in the large window of the inner facade is a modern polychrome stained glass window, depicting St. Joseph intent on descending from heaven into his sanctuary carrying Jesus. Near the main entrance we find the choir with the two-thousand-pipe polyphonic organ. It is a masterpiece designed by arch. Mariano Iervolino consecrated in l955. Enriched with a surprising variety of precious marbles, the high altar with the Throne of St. Joseph stands in the chancel in front of a graceful marble balustrade. The altar is surmounted by a canopy supported by four columns that holds the statue of St. Joseph, preceded by two angels bearing fruit and flowers.
This stupendous wooden statue, completed in 1894, is the work of the Neapolitan sculptor Raffaele Della Campa: its expressiveness is very striking; the patron saint is presented walking and seems to be coming to meet his people, holding Jesus in his arms.
The 'altar, where the Eucharist is celebrated, is embellished with splendid gold and enamel mosaics depicting ornamental decorations, doves, cherubs, and deer
Placed on the back wall is a valuable painting by Neapolitan painter Angelo Mozzillo made in 1784. It depicts the glory of St. Joseph as he is crowned in heaven. Highly decorated is the vault, with the symbol of the holy spirit in the center, the dove and many flights of festive angels and musicians, paintings present in the sails . In the medallions of the apse are depicted the symbols of the three theological virtues: faith (the veil from which the mystery of the cross and the Eucharist is glimpsed), charity (mother's tenderness, solicitude for the little ones), and hope (with the anchor the confidence of arriving safely at the longed-for port). Surrounding the Throne, in obvious relief from the niches, are the figures of ancient Joseph (anticipating the role of Mary's bridegroom), King David (to whose descendants and therefore to St. Joseph the Messiah is promised), Pope Pius IX, who proclaimed St. Joseph patron of the whole Church, and St. John XXIII, who was very devoted to the saint.
The Founder of the Shrine
Fr. Joseph Ambrosio, founder of the shrine, is to be counted in history among the most distinguished apostles of St. Joseph. Clearly of the devotion to the saint, who is the universal Patron of the Church, but also of that town that at the foot of Vesuvius has borne his name since the seventeenth century, particularly of that shrine erected there thanks to his tenacious dedication for more than fifty years.
He was born on March 24, 1871, and died on January 16, 1957. The stages of his life, after his priestly consecration in 1895 in Nola and his assumption of the direction of the works for the church of St. Joseph in 1899, are marked by successive inaugurations: the columns (1905), the dome (1908), the facade (1926), the interior (1935), the organ (1948), and the high altar (1955). Action also extended to the construction of a center for minors in 1909 and one for the elderly in 1935, as well as the "pilgrim house" in 1937. He founded the periodical "The Voice of St. Joseph" to spread the cult to the Bridegroom of Mary (1902). Countless were his trips, especially to Campania and Puglia, to all regions of Italy and abroad, to North America (1929) and South America (1934).
His mission is to involve benefactors in the construction of the shrine, which is to be "monumental," worthy of the Guardian of the Redeemer, in the wake of the one elevated to his Bride in nearby Pompeii. Undoubtedly, however, its deepest task is to transmit love for St. Joseph, confidence to the sick, comfort to the afflicted, faith to the far away. The graces and healings obtained through his intervention in the name of the Patron are not counted. Thus, a "spiritual family," a vast circle of friends, devotees and admirers, grows up around him. He counts on faith, on the help of many small offerers, on the support of poor people and emigrants; among his great supporters are St. Pius X and Bartolo Longo.
