Girolamini (Naples)
| Chiesa dei Girolamini, Complesso dei Girolamini
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| Patronage : | Mary and all the saints |
| Order : | Oratorians |
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Coordinates: 40 ° 51 ′ 6.6 ″ N , 14 ° 15 ′ 30.9 ″ E
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The Chiesa dei Girolamini (also: Gerolomini or Chiesa di San Filippo Neri ) is an important Baroque church of the Oratorian Order in Naples . It is dedicated to Mary as the Mother of God ( Maria della natività ) and all saints, and belongs to the great Complesso dei Girolamini with the former monastery , cloisters , sacristy , the Oratorio dell'Assunta , the picture gallery ( Quadreria dei Girolamini ) and the famous and important library ( Biblioteca dei Girolamini ). The main facade of the church is in Piazza Girolamini.
The buildings were closed for restoration work for decades after the Irpinia earthquake in 1980 and reopened as a museum in 2009-2010.
history
The Order of the Oratorians of Saint Filippo Neri was founded in 1575 at the request of Pope Gregory XII. founded, with the bull " Copius in misericordia Dominus ". The main aims of the order were teaching, spiritual guidance and preaching . The order came to Naples in 1586 at the invitation of the Archbishop of Naples, Annibale di Capua, its members were called "Girolamini" because they lived in the Roman convent of San Girolamo alla Carità during the first years of its existence . Among the first oratorians were Francesco Maria Tarugi, Giovenale Ancina and Antonio Talpa, who purchased the Palazzo of Cardinal Seripando for 5800 ducats, with the help of donations from the Neapolitan nobility and the archbishop.
In 1587 the construction of a small church and oratory began on the site of the palace , at the current street numbers 142 and 144 of Via Duomo; the construction management was probably in the hands of Dionisio di Bartolomeo Nencioni . In the following years, neighboring properties were gradually bought, so that one finally had a large "insula" of 180 × 68 meters; apparently such a large area was needed because the number of monks also increased.
After a few years, the first church of the Oratorian monks was too small and a larger project began, modeled on the Church of San Giovanni dei Fiorentini in Rome , where the Roman monks were temporarily housed during the construction of their new main church, Santa Maria in Vallicella . The architect of the new church in Naples was Giovan Antonio Dosio with the assistance of Father Antonio Talpa. The old church and the oratory were demolished and the cloister “della Porteria” was laid out according to plans by Dosio (see below).
In the area of the current church and the forecourt, which had been created by Domenico Fontana in 1599 , there were several small churches and chapels that had to be purchased at the time , including the churches of Santi Simeone e Demetrio , Santi Cosma e Damiano and San Giorgio (called San Giorgitiello ). Because and after these churches were demolished, the first chapel to the left of the entrance was dedicated to the saints concerned in the new church as a replacement.
The foundation stone of the church was symbolically laid on the day of the Assumption in 1592, and it was dedicated to Santa Maria della Natività (Mary and the birth of Jesus ) and all saints ( Tutti i Santi ). In 1619 there was an inauguration ceremony for the completion of the nave. The actual church consecration did not take place until 1658, when the smaller aisles were also finished.
The design and completion of the church dragged on over the entire 17th to the end of the 18th century.
description
Exterior
The facade in its original form goes back to Father Talpa (1614); it is located on Largo dei Girolamini, on via dei Tribunali. From 1655 onwards, Dionisio Lazzari redesigned it with a decoration program by Cosimo Fanzago . It was not completed until 1780 under the direction of Ferdinando Fuga , using white marble and "Bardiglio".
The relatively wide facade is two-story and is structured vertically by white fluted pilasters of the Corinthian order. The middle of the three entrance portals is significantly higher than the side entrances. The sculptures of Moses and Aron and the tablets of the law carried by angels with Hebrew script above the main portal are the work of Giuseppe Sanmartino from the end of the 18th century.
The curved upper part of the facade is narrower than the lower, and is loosened up in the middle above the main entrance by a window with a triangular gable; in the tympanum above a round medallion surrounded by rays with a relief of a Madonna and Child , also by Sanmartino - this is the type of the so-called Madonna della Vallicella , as it is stamped in the main church of the oratorians Santa Maria in Vallicella in Rome . The two figures of Peter and Paul at the top corners of the facade were started by Cosimo Fanzago and completed by Sanmartino.
To the right and left, the facade is framed by two twin towers with clocks. The dome was built by Dionisio Lazzari in the mid-17th century , but was later demolished and rebuilt in the 19th century.
Interior
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Inside, one of the most magnificent church rooms in Naples unfolds, and at 68 m long and 28 m wide, it is also one of the largest. The shape corresponds to a Latin cross . According to general opinion, the building clearly reveals the Florentine influences that emanated from its architects, u. a. on the plan in the form of a basilica . Dimensions and proportions are based on multiples of the square and the side aisles are exactly half as wide as the central nave.
On the entrance wall, Luca Giordano painted the monumental scene “Jesus chases the traders out of the temple” in 1684.
The three naves of the church are separated from each other by twelve gray granite columns - six on each side; they come from the island of Giglio , and could be brought here with the generous permission of the Grand Duke of Tuscany . Giovanni Battista Beinaschi created the frescoes with figures of saints above the arcades to the side aisles in 1681.
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The church owes its popular nickname Domus Aurea napoletana (Golden House of Naples), alluding to the Domus Aurea of Nero, to the richly gilded decoration of the decorations and ornaments in the upper part of the walls, on the entablature with acanthus tendrils, and on the ceiling . On the finely carved coffered ceiling the glory of Saint Filippo Neri and the Madonna della Vallicella are depicted next to many angels and archangels, it was created in 1627 by the Neapolitan masters Marcantonio Ferrara, Nicola Montella and Gian Giacomo de Simone. The ceiling was tragically badly damaged in the 1943 bombing during World War II .
Between the middle and left aisles there is a memorial plaque for Giambattista Vico , who, according to ancient guides about Naples, was buried in the hypogeum under the chapel of St. Agnes ( cappella di Sant'Agnese ).
In the dome there are only remnants of the frescoes from "Paradise", which Camillo Guerra painted in the course of the reconstruction carried out in 1845. In the pendentives , however, the series of Evangelists (1735–1740) by Ludovico Mazzanti has been preserved, and Francesco Solimena frescoed the arcades of the transept around 1727–1730 with the figures of Abraham , Melchizedech , Moses and David . The pillars of the transept are having a particularly elaborate, lush decor of polychrome marble provided in typical Neapolitan style, between the pilasters with their gilded Corinthian s capitals are u. a. Incorporated symbols of the Oratorian Order: white lilies and the heart of Jesus .
In the center of the rectangular apse is the large altarpiece of the Madonna della Vallicella and All Saints by Giovanni Bernardino Azzolino (or, according to other sources, by Luigi Rodriguez ); The type of Madonna and Child used here is based on the altarpiece in the Church of Santa Maria in Vallicella (also: Chiesa Nuova ) in Rome (by Rubens based on an older model). On the side walls, Belisario Corenzio depicts the capture of Christ and the crucifixion around 1615. In the niches are wooden sculptures of the apostles Peter , Andreas , Johannes and Jakobus by Giuseppe Picano, a pupil of Sanmartino (late 18th century).
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The two torch-bearing angels made of Carrara marble at the right and left ends of the balustrade that delimits the choir were created by Giuseppe Sanmartino in the 1780s; they were exhibited in the Capodimonte Museum until the beginning of the 21st century .
The main altar dates from the 19th century, the original from the 17th century by Dionisio Lazzari is now in the church of Sant'Agata in Sant'Agata sui Due Golfi , near Sorrento .
In the stands there are two paintings of angels with the symbols of the Passion , one is attributed to Luca Cambiaso , the second is only fragmentary and was created by Luca Giordano in 1680; there is also the Lamentation of Christ (1603) by Giovanni Bernardo Azzolino and an anonymous flagellation from around 1605–1610.
Transept
The large chapel at the left end of the transept is called Cappellone della natività , after the altar painting of the birth of Jesus by Pomarancio . The marble architecture of the altar was created at the beginning of the 17th century according to plans by GA Dosio, the sculptures are by Pietro Bernini .
Opposite in the right transept is the Chapel of the Martyrs ( Cappellone dei martiri ), which is based on the Nativity Chapel , but carved entirely from wood. Reliquaries were set in behind the painted panels and the central altarpiece, nine of which are still preserved today.
Side chapels
The regular uniformity of the side chapels is unique in comparison with other Neapolitan churches, where it was otherwise customary that whoever owned the jus patronatus over a single chapel determined its shape and style. However, the oratorian monks always managed to enforce the same basic plan, so the design is unusually homogeneous. The base is a multi-colored marble decor similar to that in the crossing, apse and transept
The church contains some late Mannerist paintings from the end of the 16th century by Fabrizio Santafede , Belisario Corenzio and Cristoforo Roncalli , known as il Pomarancio .
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The fifth chapel on the left houses a masterpiece by Guido Reni from the 1620s on the altar : St. Francis in ecstasy .
The picture of Sant'Alessio (1637) by Pietro da Cortona is in the first chapel on the right. Francesco Gessi's painting of San Girolamo in the second chapel on the right shows the oratorians' interest in the classicism of the Bolognese school .
There are a total of eleven side chapels, six on the left ( cornu Evangelii ) and five on the right ( cornu Epistulae ).
sacristy
The large sacristy is one of the most important side rooms of the church, it is located near the apse. In the vaulted ceiling is the Glory of St. Filippo Neri , which is attributed to Luca Giordano in the old guide of Celano of 1692 , but according to recent studies it is possibly the work of Giovan Battista Beinaschi ; the other paintings with angels are by Nicola Maria Rossi.
The original design of the room from the 17th century was changed in the late Baroque at the request of Cardinal Vincenzo Maria Orsini di Gravina, who was named Benedict XIII in 1724 . Became Pope. The changes particularly affected the floor made of exquisite marble inlay and the walnut cabinets with the cardinal's coat of arms .
The marble altar was created by Carlo Tucci in the middle of the 18th century as a “frame” for Guido Reni's encounter between Christ and John the Baptist , which hangs today in the Girolamini's picture gallery (see below); here in the sacristy there is an old copy.
The magnificent doors are inlaid with inlays made of different woods and are partially gilded, in the center of the decoration you can see the symbols of the order: lilies and an eight-pointed star. In 1750 Leonardo Olivieri painted the small dome. In the sacristy and the adjoining room, the collection of paintings of the Oratorians used to be kept, which is now exhibited in the museum in the Quadreria .
- Girolamini sacristy
Oratorio dell'Assunta
The Oratorio dell'Assunta (also: cappellone dell'Assunta ) can be reached through a door in the right aisle of the church, in the direction of the former Palazzo Seripando on Via Duomo. It is one of five oratorios in the Complesso dei Girolamini and is named after the Assumption of Mary. Alternatively, it was also known as the cappella degli Artisti (Chapel of the Artists), because the artists and their “henchmen” used to gather in this room, as did the dealers, who originally had their own oratorio in the convent, the so-called Oratorio dei Mercanti .
The decoration dates from the late 16th and 18th centuries. The painting of the Assumption of Mary on the altar is attributed to Fabrizio Santafede . The 18th century frescoes were created by Giuseppe Funaro and Crescenzo Gamba : the latter is the author of the trompe-l'œil in the center of the ceiling.
Cloisters
The Girolamini monastery has two cloisters, the small one is the Chiostro della Porteria , and the large one is also called Chiostro degli aranci because of the orange trees it contains .
Small cloister "della porteria"
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The Chiostro della Porteria (cloister of the gate) was designed by Giovanni Antonio Dosio and built at the turn of the 16th and 17th centuries, on the site of the former Palazzo Seripando. Its square floor plan, the arcades with barrel vaults and the arches supported by four columns on each side are stylistically reminiscent of the cloister of the Certosa di San Martino, which is also a work by Dosio. The fountain in the middle of the courtyard dates from the 17th century, it is made of white marble and gray stone and is engraved with the star and the monogram “OR” as symbols of the Oratorian Order. The floor, made of brick-red cotto tiles and small blue and white Maiolica tiles, dates from the 19th century. The cloister is dominated by the clock tower with a relief of the Madonna della Vallicella held by angels.
Large cloister "degli aranci"
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The great Chiostro degli aranci was built in the 1630s by the architects Dionisio di Bartolomeo Nencioni and Dionisio Lazzari, and is surrounded on the sides by monumental arcades. There are eight arches on the shorter walls and nine on the two long walls, alternating with readers. The capitals with garlands and mascarons and the elegant window frames are characteristic of 16th century Tuscan architecture and also widespread in Naples. The architectural structure is emphasized by the contrast between the dark piperno , a rock of volcanic origin, and the white walls.
From the walkway of the cloister you climb up to the old rooms of the Oratorian monks , the Quadreria (picture gallery) and the famous library.
Biblioteca dei Girolamini
Quadreria dei Girolamini
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The Quadreria dei Girolamini was the first picture gallery in Naples, the holdings of which are composed of pictures originally created for the church and its ancillary rooms, and donations from some art collectors. The beginning was made in 1622 by Domenico Lercaro, a wealthy tailor and cloth merchant who bequeathed all his furniture and works of art to the order in his will: these included the images of Christ's encounter with John the Baptist and the San Girolamo by Francesco Gessi , which were only finished after the death of the founder were. Another important collection was that of the Milano family, which came to the Girolamini in 1631.
Originally, the collection was housed in the sacristy of the church, as Domenico Lercaro had determined in his will. The collection was not reorganized until 1961. It was closed for 15 years after the 1980 Irpinia earthquake and then reopened in 1995. Today the gallery is located in some of the halls on the first floor of the monastery building, which can be reached through the Chiostro degli aranci (see above).
The works on display date from the beginning of the 16th to the middle of the 18th century. One of the oldest pictures in the collection is the Adoration of the Magi by Andrea Sabatini da Salerno from 1513. The most notable works from the 16th century also include paintings by the Cavalier d'Arpino and an Adoration of the Magi by Federico Zuccari , as well as works by Lucas by Leyden and Bartholomäus Spranger ; also a Madonna and Child from the Greek school in Crete.
Also noteworthy are several works by Fabrizio Santafede and Giovanni Bernardo Azzolino , and a Madonna and Child and Saint Francis by Cristoforo Roncalli , called il Pomarancio .
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The Neapolitan school of the Caravaggists is well represented, to whom the collection owes some of its greatest masterpieces: the Baptism of Christ by Battistello Caracciolo , a series of images of the apostles ( Peter , Paul , Jacobus , "Andreas") and the Flagellation of Christ by Jusepe de Ribera , and some works by Massimo Stanzione , especially the banquet at Emmaus . The highlights of the collection are also Guido Reni's flight into Egypt and Christ's encounter with John the Baptist .
From the high baroque you can see works by Andrea Vaccaro , Paolo De Matteis and Luca Giordano, as well as some bozzetti by Francesco Solimena on the frescoes of Moses and David in the church, and works by Ludovico Mazzanti : Death of Hosia and Expulsion of Heliodorus .
In addition to the paintings, the collection also includes sculptures, in particular a Christ on the cross and a wooden Pietà by Giuseppe Sanmartino, who created several works for the church and its facade at the end of the 18th century.
- Pictures of the Quadreria dei Girolamini (selection)
Adoration of the Magi by Andrea Sabatini
Ecce Homo , Anonymus, Flemish School, 16th century
Bath of the little Jesus ( Jesus and John the Baptist ) by Fabrizio Santafede
Flagellation of Christ by Jusepe de Ribera
Battistello Caracciolo: Baptism of Christ
Feast of Emmaus by Massimo Stanzione
Adoration of the Shepherds by Andrea Vaccaro
Madonna by Paolo De Matteis
Madonna and Child by Luca Giordano
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literature
Modern sources
(sorted alphabetically)
- AA.VV .: La quadreria dei Girolamini. Elio De Rosa Editore, 1995.
- AA.VV .: Napoli e dintorni. Touring Club Italiano, Milan 2007, ISBN 978-88-365-3893-5 .
- Bollettino d'Arte. nº 71 del Ministero per i Beni culturali e Ambientali, Istituto Poligrafico e Zecca dello Stato, Rome 1992.
- De Castris - Middione: La quadreria dei Girolamini. Führer, Naples 1986.
- Loredana Gazzara: Complesso dei Girolamini. In: Napoli. Mondadori-Electa, Milan 2007, p. 61.
- Antonella Marciano: Giovanni Antonio Dosio fra disegno dell'antico e progetto; Scuola di Pitagora editrice. Naples 2008.
- Achille della Ragione: Finalmente riapre la chiesa dei Girolamini. Naples 2009.
- Vincenzo Regina: Le chiese di Napoli. Viaggio indimenticabile attraverso la storia artistica, architettonica, letteraria, civile e spirituale della Napoli sacra. Newton e Compton editore, Naples 2004.
Historical sources
(in chronological order)
- D'Engenio: Napoli Sacra. 1623.
- Carlo de Lellis: Supplimento a Napoli sacra di Cesare d'Eugenio Caracciolo. Naples, 1654.
- Luigi Scaramuccia: Le finezze de pennelli italiani. 1674.
- Sarnelli: Guida de forestieri Naples, 1688.
- Celano: Delle Notitie del bello, dell'antico, e del curioso della Città di Napoli. 1692.
- Domenico Antonio Parrino: Guida de 'forestieri. 1751.
- Giuseppe Sigismondo: Descrizione Della Città Di Napoli E Suoi Borghi. Volume 1, Naples, 1788.
- Luigi Catalani: Le chiese di Napoli. Descrizione storica ed artistica dell'architetto Luigi Catalani. Vol. I, Tipografia fu Migliaccio, Naples 1845.
- Giuseppe Ma. Galanti: Nuova guida per Napoli, e suoi contorni. 1845.
- Vincenzo Corsi: Principali edificii della città di Napoli. 1850.
- Luigi d'Afflitto: Guida per i curiosi e per i viaggiatori che vengono alla città di Napoli. Volume 1, 1854.
- Achille De Lauzières : Descrizione della città di Napoli e delle sue vicinanze divisa in XXX giornate , Volume 2, 1855.
- Camillo Napoleone Sasso: Storia dei monumenti di Napoli e degli architetti che gli edificavano 1856.
- Chiarini: Note of the bello dell'antico e del curioso della Città di Napoli. 1870.
- Ceva Grimaldi: Memorie storiche della Città di Napoli. 1911.
See also
Web links
- Website of the Complesso dei Girolamini with information about the church, museum, sacristy etc .: (online) , viewed on November 4, 2018 (Italian; also main source for this article)
Individual notes
- ↑ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah ai aj ak al am an information about the church and its history on the Website of the Complesso dei Girolamini under the keyword “Chiesa monumentale” , viewed on November 4, 2018 (Italian)
- ↑ a b c d e AA.VV .: Napoli e dintorni. Touring Club Italiano, Milan, 2007, p. 206.
- ↑ Giuseppe Sigismondo Descrizione Della Citta Di Napoli e Suoi Borghi, Volume 1 Napoli 1788th
- ↑ AA.VV .: Napoli e dintorni. Touring Club Italiano, Milan, 2007, p. 207.
- ↑ a b c d e f Information about the sacristy on the website of the Complesso dei Girolamini under the keyword: "sacrestia" , viewed on November 4, 2018 (Italian)
- ↑ a b Napoli (Guide rosse), Touring Editore, 2007, ISBN 978-88-365-4344-1 (also recognized by the Italian Ministero per i beni e le attività culturali)
- ↑ Gennaro Aspreno Galante: Le Chiese di Napoli. Guide to the Sacra della Città di Napoli. Naples (19th century), p. 141.
- ↑ a b c d e Information on the Complesso dei Girolamini website under the heading “chiostro degli aranci” , viewed on November 4, 2018 (Italian)
- ↑ a b c Information on the Complesso dei Girolamini website under the heading “chiostro della porteria” , viewed on November 4, 2018 (Italian)
- ↑ a b c d e AA.VV., Napoli e dintorni. Touring Club Italiano, Milan, 2007, ISBN 978-88-365-3893-5 , p. 208.