Naples Cathedral
| Naples Cathedral Duomo di Santa Maria Assunta Cattedrale di Napoli |
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 Exterior view |
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| Data | |
| place | Naples (NA) |
| Construction year | 14th Century |
| Coordinates | 40 ° 51 '9.1 " N , 14 ° 15' 34.4" E |
The Cathedral of Naples (Italian: Duomo di Santa Maria Assunta ) is the main church in Naples , which is dedicated to the Assumption of Mary . The relics of San Gennaro ( Januarius ), the patron saint of Naples, are also kept here, which is why it is also known as the Duomo di San Gennaro .
The cathedral has several significant rooms that are considered to be independent structures: the famous Cappella del tesoro di San Gennaro (Treasure Chapel of St. Januarius), where the blood miracle of St. Januarius is celebrated every year , and the Basilica di Santa Restituta with the remains of the late antique Battistero di San Giovanni in fonte . Relics from Roman and Greek times have also been found under the cathedral.
The neighboring Palazzo Arcivescovile is the seat of the Archdiocese of Naples .
history
According to tradition, the cathedral is located on the spot where Asprenas , the first bishop of Naples, chose his bishopric and had the chapel of Santa Maria del Principio built. Today's church stands on the foundations of two early Christian basilicas , some of which are still there. One of them goes back to the first decades of the 4th century and is known as the Basilica di Santa Restituta from the 8th century ; it remained partially and in a modified form next to the left aisle . The second basilica was consecrated to Jesus Christ as Savior ( San Salvatore ), but known under the name Stefanìa , after its commissioner, Bishop Stefano I (499–501); this was destroyed during the new Gothic building in the 13th century.
The new building of today's church took place from 1265 on behalf of King Charles I of Anjou . Its construction continued through the entire reign of his successor Charles II (1285–1309) and was completed at the beginning of the 14th century under King Robert the Wise .
Over time, the church has been expanded and changed in different styles.
In an earthquake in 1349, the campanile and the facade collapsed ; they were renewed in the 15th century. In 1456, another earthquake caused new damage to the nave, which also had to be partially replaced.
From 1497 to 1506, Cardinal Oliviero Carafa had the crypt (or succorpo ) built under the presbytery to store the relics of San Gennaro in the Renaissance style.
In 1608, work began on the Cappella del tesoro di San Gennaro based on plans by Francesco Grimaldi . These dragged on for about 40 years and some of the most important artists of their time were involved in their design.
In the main nave of the cathedral, Cardinal Decio Carafa (1613–1626) had the original wooden ceiling replaced by a splendid coffered ceiling with embedded oil paintings . Another Baroque transformation took place under Innico Caracciolo (1667–1685).
The cathedral was repeatedly victims of earthquake suffered while 1456 and 1688, the Basilica di Santa Restituta from the 4th century, which has survived as one of the left side chapels, severe damage, and therefore was the beginning of the 18th century, designed by Arcangelo Guglielmelli round renewed.
In the earthquake of 1732 the apse was badly damaged and subsequently under Giuseppe Spinelli (1734–1754) in z. Some late baroque forms renewed. The work began in 1741 according to plans by Paolo Posi . a. the originally Gothic shapes of the windows changed.
In the 19th century a “ restoration ” took place by Filippo Giudice Caracciolo (1833–1844), and from 1875 a new façade in neo-Gothic style was built by Cardinal Sisto Riario Sforza , including older elements such as the original sculptural decoration . Due to the death of the responsible architect Errico Alvino, this construction work was delayed and could not be finished until 1905 by Giuseppe Pisanti (a student of Alvino) and Nicola Breglia.
Even after the Second World War , important restorations of both the cathedral itself and the adjoining archbishop's palace were necessary. They were carried out from 1969 to 1972 under the direction of Roberto Di Stefano.
Another restoration and consolidation phase was triggered by the earthquake of 1980 , and was carried out by the Provveditorato alle Opere Pubbliche and the responsible Soprintendenza .
description
Exterior
The facade was renewed in the late 19th century based on designs by Enrico Alvino; the towers originally planned by him on both sides were not built. The original sculptural decorations from the Middle Ages by Tino di Camaino and Antonio Baboccio da Piperno are still almost original , especially on the main portal and the two side entrances. Other figures and sculptures were added by sculptors of the late 19th century.
Traditionally, the right of the three portals may only be opened on special occasions, such as B. during the feasts of San Gennaro or (theoretically) at marriages of the Capece Minutolo family .
Interior
The mixture of different styles gives the interior a unique character. It has the shape of a Latin cross with a nave and two side aisles , to which various side chapels adjoin. Side aisles and central nave are separated from each other by 8 huge pillars , at the base of which ancient Roman columns are incorporated. The walls and pillars are clad with a cream-colored, gray-speckled marble , set off with white marble on the frames, cornices and arches and with white stucco decoration. The central nave is about 100 m long and about 48 m wide.
The colored and partly gilded coffered ceiling from the 17th century is adorned with five large scenes from the childhood of Jesus in oil on canvas: the Adoration of the Shepherds by Giovanni Balducci , the Adoration of the Kings by Giovanni Vincenzo da Forlì , the circumcision by Flaminio Allegrini , and finally the Annunciation and the presentation in the Temple of Girolamo Imparato . On the walls of the central nave between the pillars and above between the windows are medallions with frescoes by Luca Giordano , above the Apostles and Fathers of the Church , and below, the Holy Patrons of Naples . In the 17th and 18th centuries, aedicules with busts of the first bishops of Naples were attached to the sixteen pillars .
The tombs of Charles I of Anjou , Carl Martell d'Anjou , King of Hungary, and his wife Clemenza von Habsburg rise from the entrance facade . They were commissioned from Domenico Fontana by Viceroy Enrique de Guzmán in 1599 to replace the destroyed originals from the 14th century.
The lower part of the baptismal font under the first arcade on the left consists of a Hellenistic antique bowl made of black Egyptian basalt , the top made of bronze and polychrome marble incrustations is dated 1618.
In the last arcade in front of the transept there are two opposite galleries on the right and left with the two historic organ cases from the 18th century (more details on the organs: see below). The marble pulpit with a relief by Annibale Caccavello (attributed to) rises under the right gallery , and the Gothic canopy of the bishop's throne ( cattedra episcopale ) from the end of the 14th century under the left organ gallery .
Transept
The transept is slightly higher compared to the main nave and was changed in a neo-Gothic direction during the restorations of the 19th century. Here, too, there is a coffered ceiling from the 17th century with paintings by Forlì ( apparition of Jesus to Mary ), Balducci ( resurrection and Pentecost ), and two scenes attributed to late Mannerist masters of the local school ( apparition of Jesus to the apostles and the coronation of Mary ).
Luca Giordano's series of medallions with Holy Cartridges from Naples from the nave is continued on the walls ; the cycle was completed by Francesco Solimena , of whom two pictures come.
In the transept there are eight side chapels, four on the wall to the presbytery (two on the right and two on the left) and four on the main walls (one on the left and three on the right).
Left transept
To the left of the choir is the Cappella Galeota (or del Santissimo Sacramento ), with tombs of the Galeota family by Cosimo Fanzago and Lorenzo Vaccaro , a painting by Andrea De Lione , and a Madonna and Child by Pietro Befulco (16th century).
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Of particular interest is the second chapel, dedicated to Saint Lawrence, also called Capella degl'Illustrissimi . It was commissioned by Archbishop Umberto d'Ormonte around 1320 and has remains of a fresco decoration on the walls, which is attributed to Lello da Orvieto , in particular the " root of Jesse " (also called "tree of life" ( Albero della vita )).
On the left rear wall of the transept hang the painted organ wings, with which one could close the former organs from 1549 and 1652. The wings of the Renaissance organ were painted by Giorgio Vasari , on the left you can see the Nativity and on the right seven patrons of Naples ; the organs themselves were transferred to the church of Santa Maria la Nova when the new organ was built in the 18th century , only the wings were kept here.
The left transept leads to the sacristy (formerly Cappella di San Ludovico ), which was renovated in the 18th century by Filippo Buonocore in the Baroque style. The ceiling painting San Gennaro prays to the Trinity is by Santolo Cirillo . The walls were decorated by Alessandro Viola with Tondi of the portraits of all the Archbishops of Naples, framed in stucco frames. There are also paintings by Aniello Falcone and Giovanni Balducci .
Right transept
To the right of the choir, clockwise: on the side of the choir, the chapel of Sant'Aspreno and the Minutolo chapel; and on the main wall the three chapels dell'Assunta ( Assumption of Mary ), dell'Annunziata ( Annunciation ) and della Maddalena .
The Minutolo Chapel in the corner has retained most of its 14th-century Gothic appearance. Here is the tomb of Filippo Minutolo , mentioned in Boccaccio's Decameron in the novella of Andreuccio da Perugia. The marble floor dates from the 13th century, the frescoes were created by Montano d'Arezzo (1285–1290) and an anonymous artist.
Cappella Minutolo : detail of the frescoes with the Resurrection of Christ
Perugino's Assumption , which he painted for Cardinal Oliviero Carafa and which originally adorned the main altar, is kept in the neighboring Capella dell'Assunta .
Two chapels at the end of the right transept arm, on the left the Cappella dell'Assunta with the Assumption of Mary of Perugino
Choir and apse
The main chapel in the apse is the result of various redesigns in the 16th and 18th centuries. From 1714 the choir was lengthened by Paolo Posi and the vaulted ceiling was lowered. The whole thing is clearly inspired by Bernini's cattedra Petri in St. Peter's Basilica . Relics of Saints Agrippinus , Acutius and Eutychios are kept in the main altar , the sculptural group of the Assumption above was created by Pietro Bracci in 1739 (creator of the Fontana di Trevi ). The choir stalls are the work of Marc'Antonio Ferraro .
The frescoes in the vault and on the right were painted by Stefano Pozzi , the scene of the transfer of the relics of Saints Acuzio and Eutiche from Pozzuoli to Naples on the left is by Corrado Giaquinto .
Succorpo (crypt)
Below the choir is the Cappella del Succorpo or crypt (also called Confessione di San Gennaro or Cappella Carafa ), which can be reached via two flights of stairs near the balustrade of the choir chapel .
It is a work of the Renaissance that was created from 1497 to 1506 on behalf of Cardinal Oliviero Carafa. He had made sure that the relics of San Gennaro, which had been in the Santuario di Montevergine in Avellino since 831 , were brought to Naples.
Some experts believe the chapel to be a work by Bramante , but other dates point to the Lombard artist Tommaso Malvito as the author. The room is divided into three naves by marble columns: in the middle there is a sculpture of Cardinal Oliviero Carafa in prayer position. The entire room, including the floor and coffered ceiling, is decorated with precious polychrome marble decoration and reliefs in the grotesque style. The reliquary of San Gennaro is located in the apse niche .
Side aisles and side chapels
Left aisle
In the side aisles there are a total of ten chapels (five on each side), as well as altars, tombs and sculptures from a period from the 13th to the 19th century.
The second chapel on the left is dedicated to St. Theodore ( San Teodoro ); the figures are by Bartolomé Ordóñez and the altarpiece The Incredible Thomas by Marco da Siena . Next to the entrance to the third chapel on the left are u. a. Tombs of the cardinals Alfonso Gesualdo (the composer's uncle ; by Michelangelo Naccherino and Tommaso Montani ) and Alfonso Carafa (anonymous), as well as cenotaphs of three members of the Filomarino family , the latter were created by Giulio Mencaglia and Giuliano Finelli .
The fourth Cappella Brancaccio was designed by Giovanni Antonio Dosio at the end of the 16th century ; Pietro Bernini created the sculptures of Peter and Paul at the entrance , the relief of the Annunciation and the Eternal God the Father on the tympanum Girolamo D'Auria . The altarpiece Baptism of Jesus is by Francesco Curia .
Cappella Brancaccio
Cappella Teodoro : “The incredulous Thomas” by Marco Pino
At the end of the left aisle, just before the transept, is the entrance to the archaeological excavations of the cathedral.
Basilica di Santa Restituta (3rd chapel on the left)
The third chapel on the left is the Basilica di Santa Restituta (Basilica of St. Restituta ), one of the largest rooms in the cathedral. Originally built in the 4th century, it has been reshaped several times over the centuries, but the early Christian structure of a rectangular nave with two aisles, which are separated from the main room by columns, can still be seen; the pillars are ancient originals. After damage from several earthquakes, the basilica was renovated in the 17th century under the direction of Arcangelo Guglielmelli and provided with baroque stucco . The fresco decorations were made by Luca Giordano . Unusually, the pointed arches of the Gothic conversion from the high Middle Ages were retained during the Baroque period. There are also sculptures from the 14th century preserved, as well as an apse mosaic Madonna and Child, San Gennaro and Santa Restituta by Lello da Orvieto from 1322.
Apse mosaic “Madonna and Child, San Gennaro and Santa Restituta” by Lello da Orvieto, 1322, Basilica di Santa Restituta
At the end of the right aisle of the basilica is the Battistero di San Giovanni in Fonte , which is considered the oldest baptistery in the West . It was built between 364 and 410, a few decades before that of the Lateran , which was only built under Sixtus III. originated (432-440). The valuable original decoration with mosaics from the 4th century is still partially preserved and shows typical scenes of early Christian iconography, such as the Good Shepherd , the wonderful fishing, evangelical symbols, etc. a.
Battistero di San Giovanni in Fonte with 4th century mosaics
Right aisle
There are also five chapels in the right aisle. In the first Cappella di San Nicola there is a painting by Paolo de Matteis ; in the second Cappella del Crocefisso monuments by Cosimo Fanzago , two paintings by Michele Foschini (once in Santa Maria la Nova ) and Gothic tombs of the Caracciolo family by Tino di Camaino . The wooden crucifix dates from the 12th century.
The fourth chapel contains all the relics of the city, which were brought here from various abolished monasteries and churches; the altarpiece is by Nicola Malinconico .
Cappella del Tesoro di San Gennaro (3rd chapel on the right)
Also on the right side, in third place, directly opposite the Basilica di S. Restituta , is a large independent room, which in this case has a special connection to the Neapolitan people and their traditions: The Real Cappella del Tesoro di San Gennaro (royal Treasure Chapel of St. Januarius), or Cappella di San Gennaro for short . Thanks to various papal bulls, it is not under the jurisdiction of the episcopal curia , but is led by a so-called Deputazione and the sedili di Napoli .
It is dedicated to San Gennaro (St. Januarius ), the main patron of the city. Twice a year, on the first Saturday in May and on September 19, the famous ceremony of the Blood Miracle of San Gennaro takes place here, at the center of which is a vial of the saint's blood, which in the meantime changes from a solid to a liquid state ; if, as an exception, no liquefaction takes place, this is considered a bad omen .
The chapel is one of the most important examples of the architecture of the Neapolitan Baroque, and at the same time one of the highlights of Emilian painting. In their place there were previously three chapels of the Filomarino , Capece and Cavaselice families , the small church of Sant'Andrea and some civil buildings. Francesco Grimaldi provided the design, construction work began in June 1608 and was continued by Ceccardo Bernucci after Grimaldi's death in 1613 and later finished by Giovan Giacomo di Conforto .
The entrance to the chapel is flanked by sculptures of Saints Peter and Paul by Giuliano Finelli . The bronze entrance grille was designed by Cosimo Fanzago , who also created the double-sided bronze bust of San Gennaro above the gate and the marble floor of the chapel. The interior has the shape of a Greek cross and is also octagonal due to bevelled corners . The entire lower area of the room is clad (in Roman style) with various precious types of marble , with the dominant colors white and pink and dark gray in the background or shadow zones. Cornices and gables are made of white marble, like the gigantic fluted en pilasters of Corinthian order, as a pillar of the transept serve. The very closed impression of the room is created, among other things, by the uniform design of the walls in the apse and in the two large side chapels in the style of antique temple architecture, which rests on pink marble columns with Corinthian white capitals . In contrast to the light and soft marble tones, there are statues of saints made of heavy dark bronze in the niches in between, with various angel figures made of white marble as crowning .
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For the vaults and dome frescoes , they first tried to get Guido Reni , who also came, but due to aggressive threatening letters and other incidents, which are ascribed to the so-called " Cabala di Napoli " (led by the painters Belisario Corenzio , Battistello Carracciolo and Jusepe de Ribera ) , fled the city. The order then went to Domenichino , who created a large part of the vault frescoes here from 1633 to 1641 and of which the small altarpieces are also on the sloping sides; However, Domenichino died prematurely before finishing his work.
The dome fresco with Paradise was created in 1643 by Giovanni Lanfranco , who also painted the (now lost) dome in Gesù Nuovo . A highlight and at the same time the only work by a painter of the Neapolitan school in the chapel is the altar painting of the right main altar San Gennaro rises unharmed from the oven , it was painted in oil on copper by Jusepe de Ribera (1645–46).
The entire chapel is decorated with silver reliquary busts, valuable works of goldsmithing , which have given it their name as a treasure chapel. The bust of San Gennaro next to the main altar is a French work from 1305 by Stephane Godefroy, Guillaume de Verdelay and Milet d'Auxerre, while the altar attachment in the form of a silver relief is by Giovan Domenico Vinaccia . Dionisio Lazzari created the marble water basins . The magnificent high altar with bronze figures of saints comes from Francesco Solimena .
The Cappella di San Gennaro had in the 17th and 18th centuries. In the 19th century, it established its own music ensemble, led by some of the city's major musicians, including Francesco Provenzale , Cristofaro Caresana , Nicola and Lorenzo Fago . The nine to ten singers were divided into two (solo) choirs, and they included some of the most prestigious and famous castrati : Matteo Sassano ( Matteuccio ), Nicola Grimaldi (Nicolino), Domenico Gizzi , Carlo Broschi ( Farinelli ), Gioacchino Conti ( Gizziello ), Gaetano Majorano ( Caffarelli ) and Giuseppe Millico .
The chapel has its own sacristy, the entrance of which is next to the right altar. The neighboring Cappella della Conciliazione and other adjoining rooms are part of the Museo del Tesoro di San Gennaro , where you can see various church treasures that came here as gifts from popes and kings over the course of seven centuries .
Jusepe de Ribera : San Gennaro rises unscathed from the furnace , 1645–46, oil on copper
Silver reliquary of San Gennaro
Cappella di San Gennaro : Reliquary of Santa Lucia made of silver
Domenichino : San Gennaro heals a woman possessed (unfinished)
Organ in the Cappella di San Gennaro
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organ
The organ was built in 1767 by the organ builder Filippo Cimino. It was originally a question of two instruments, which were combined into one instrument in 1931 by the organ building company Giuseppe Rotelli (Cremona) and equipped with electric action . In 1974 the organ was restored and reorganized by the organ builder Giuseppe Ruffatti, and several registers were added, which are located behind the high altar. The organ is divided into four separate works that can be played from the uniform console. In the course of the last restoration, the original choral work was converted into an independent instrument, the registers were divided into two manuals and a pedal and placed behind the main altar.
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Relics
literature
- Gennaro Aspreno Galante: Le chiese di Napoli. Guida sacra alla città, la storia, le opere d'arte ei monumenti , hrgg. by Nicola Spinosa, Solemar Edizioni, Mugnano di Napoli, 2007. SBN IT \ ICCU \ PAL \ 0065601
- Maria Caputi: Napoli rivelata. Gli spazi sacri del centro antico , D'Auria M. Editore, Naples, 1994. ISBN 978-88-7092-097-0
- Ugo Dovere: Il Duomo di Napoli , Editrice Velar, Bergamo, 1996. ISBN 88-7135-058-8
- Loredana Gazzara: Napoli. Mondadori Electa, Milan 2007, pp. 48–51 (Italian)
- Vinni Lucherini: La Cattedrale di Napoli. Storia, architettura, storiografia di un monumento medievale , École française de Rome, Rome, 2009. ISBN 978-2-7283-0852-1
- Francesco Domenico Moccia & Dante Caporali: NapoliGuida. Tra Luoghi e Monumenti della città storica , editore Clean, Naples 2001. ISBN 88-86701-87-X
- Vincenzo Regina: Le chiese di Napoli. Viaggio indimenticabile attraverso la storia artistica, architettonica, letteraria, civile e spirituale della Napoli sacra , Newton & Compton editore, Rome, 2004. ISBN 88-8183-110-4
- Nicola Spinosa (scientific coordination), Gemma Cautela, Leonardo Di Mauro, Renato Ruotolo: Napoli sacra. Guida alle chiese della città , Naples, 1993–1997, SBN IT \ ICCU \ NAP \ 0150544
- Roberto Di Stefano: La Cattedrale di Napoli , Editoriale scientifica, Naples 1975. SBN IT \ ICCU \ SBL \ 0168071
- Touring Club Italiano: Napoli e dintorni, Guida d'Italia , Touring Editore, Milan, 2008, ISBN 978-88-365-3893-5 .
Web links
- Brief information about the Cathedral of Santa Maria Assunta in Naples on Diocesi di Napoli - Santa Maria Assunta , seen on October 18, 2018 (Italian; also partly source of this article)
Individual evidence
- ↑ a b c Loredana Gazzara: Napoli , Mondadori Electa, Milan 2007, p. 48 (Italian)
- ↑ a b c d e f g h i j k l m Brief information about the Cathedral of Santa Maria Assunta in Naples on beweb: Diocesi di Napoli - Santa Maria Assunta online , seen on October 18, 2018 (Italian)
- ↑ a b c d e Touring Club Italiano: Napoli e dintorni, Guida d'Italia , Touring Editore, Milan, 2008, p. 209
- ↑ a b c Touring Club Italiano: Napoli e dintorni, Guida d'Italia , Touring Editore, Milan, 2008, p. 210
- ↑ a b c d e f g h Touring Club Italiano: Napoli e dintorni, Guida d'Italia, Touring Editore, Milan, 2008, p. 213
- ^ A b Touring Club Italiano: Napoli e dintorni, Guida d'Italia, Touring Editore, Milan, 2008, p. 211
- ↑ a b c d Touring Club Italiano: Napoli e dintorni, Guida d'Italia , Touring Editore, Milan, 2008, p. 212
- ↑ Massimo Buchicchio: Reverendissimi in Christo Patres et Domini Cardinali commendatari de la abbazia de la Sanctissima Trinità et Episcopi de la cità de La Cava , Cava de 'Tirreni 2011
- ^ Roberto Pane: "Note su Guillermo Segrera, architetto", 1962. SBN: IT \ ICCU \ VIA \ 0101713
- ^ Touring Club Italiano: Napoli e dintorni, Guida d'Italia, Touring Editore, Milan, 2008, p. 215
- ↑ Marta Columbro, Paolo Giovanni Maione: Gli splendori armonici del Tesoro - Appunti sull'attivitá musicale della Cappella tra sei e settecento , Deputazione della Real Cappella del Tesoro di San Gennaro, Naples, 2002, pp. 11-12 (Italian)
- ↑ In the Baroque period, highly professional soloist choirs were usually common, in contrast to the large (and mostly lay) church choirs of the modern age. Juliane Riepe: Singer in the Church, On Practice in Italian Music Centers of the 18th Century . Online at Academia , pp. 54–55, footnote 24 (!)
- ↑ Marta Columbro, Paolo Giovanni Maione: Gli splendori armonici del Tesoro - Appunti sull'attivitá musicale della Cappella tra sei e settecento , Deputazione della Real Cappella del Tesoro di San Gennaro, Naples, 2002, pp. 13, 16, 19 (Italian)
- ↑ Juliane Riepe: Singer in the Church, On Practice in Italian Music Centers of the 18th Century . Online at Academia , pp. 62 and 67
- ↑ More information (in Italian) about the organ