Asmara religious

As for religion, Asmara, the capital of Eritrea, is truly exceptional. Apparently, nowhere else in the world do so many religions coexist peacefully as here, 2500 meters above sea level. There are Catholics, Muslims, Jews, Protestants, Orthodox Christians, Seventh-day Adventists, and other smaller religious groups. This has, of course, reflected in the architecture of the city itself. Unfortunately, in recent years, religious tolerance and richness have been suppressed by the government itself, which is closing some smaller churches and monasteries due to mandatory military service, from which Eritreans seek refuge here.
The religious diversity, which seeps into the richness of architectural forms in Asmara, has been primarily influenced by the historical development of Eritrea as a whole. As early as the 2nd century, the fascinating Axumite Empire emerged in the territory of Eritrea and Ethiopia, which embraced Christianity in the 4th century, making it one of the first states to do so. This developed into a specific, almost mystical form here. Islam reached Eritrea in the seventh century, and Coptic Christianity had to retreat high into the mountains ahead of it, where it survived only due to the remoteness of local monasteries. With the arrival of the Italians at the end of the 19th century, primarily Catholic faith came, and with the subsequent development of trade, other faiths followed, mainly Jewish and Orthodox Greek.
Asmara thus abounds in an incredible wealth of holy places and forms of their architecture, which, thanks to any god, were not destroyed by either World War II or the Eritrean-Ethiopian conflict.

St. Mary’s Cathedral
Architect: Oreste Scavini
Realization: 1895; remodeled 1923
The oldest Catholic mission and church established immediately upon the arrival of the Italians. The entire complex was progressively expanded according to the growing Catholic population, until it became the dominant and religious beacon of Asmara. It consists of a school, a priest's residence, a library, a Capuchin convent, a theater, and even a cinema. The renovation from 1923 is in the Lombard architectural style, with individual buildings made of local bricks interspersed with light stone. The interior is richly decorated with numerous statues and paintings, and the combination of dark bricks and white marble is particularly impressive. Part of the decoration was personally financed by Benito Mussolini. To this day, it remains the tallest building in Asmara, with a bell tower that is 52 meters high.

The Great Mosque (Kulafa Al Rashidin Mosque)
Architect: unknown, Giuseppe Arata (1943)
Realization: 1906; renovated 1937-38, 1943
Originally a small mosque, it was remodeled in the 1930s and 1940s and became part of the complex of two Asmara squares. Interestingly, the orientation of the mosque is subordinated to the urban plan, and it does not face Mecca precisely. An open space for prayer was created in front of the mosque, and the building adopted the same architectural expression as the markets in front of it. The face of the mosque is shaped mainly by a mixture of Moorish and European influences, with arched arcades and a pipe-like octagonal minaret. The interior is dominated by a glass dome with a beautiful glass chandelier and paintings in the Islamic style.

Enda Mariam Orthodox Christian Cathedral
Architect: E. Gallo (1920); unknown (1938-39)
Realization: 1920, 1938-39
An Orthodox church stood on the same site before the arrival of the Italians, then a native structure called “hidmo.” In 1920, a new, larger church was built, referencing traditional construction, particularly with conical tower roofs and construction techniques used. The current building from 1939 has preserved this type of roof, which is surprising given the racial intolerance and disdain for local culture. The main nave has a simple rectangular layout, and the entrance features double arched doors under a mosaic of seven angels. In front of the church, two massive towers rise, reminiscent of ancient Axumite pillars. The entire space is complemented by a small garden on the other side of the building, giving it a very tranquil and sleepy impression, except during holidays when the whole area comes alive with hundreds of people.

Degghi Selam
Architect: Odoardo Cavagnari
Realization: 1917
The building lining the entrance to the Enda Mariam Cathedral is one of the few examples of the synthesis of local architecture with Italian colonialism. Odoardo Cavagnari, perhaps the most important architect in the history of Asmara, used both traditional conical roofs, the traditional material of the original wooden beams of the church, and colorful Byzantine-style paintings here. However, the most notable feature is the imitation of the now-forgotten construction technique of monkey heads, which resemble carved poles protruding from the walls. These poles were originally woven with branches and stones to reinforce the entire building. This technique was widespread throughout the eastern Horn of Africa (Eritrea, Ethiopia, Somalia), but today only a few last buildings remain, often in very poor condition.

St. Francis Church
Architect: Paolo Reviglio
Realization: 1938
St. Francis Church is built in a quasi-Romanesque style, using bricks and local stone. The interior is very simple. Perhaps the most interesting feature is the statue of St. Francis in front of the church, which has an art deco touch.