San Giovanni a Carbonara
| Chiesa di San Giovanni a Carbonara
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| Patronage : | Saint John the Baptist |
| Order : | Augustinian (formerly) |
| Address: | Via Carbonara, Naples |
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Coordinates: 40 ° 30 ′ 43.8 ″ N , 14 ° 9 ′ 13.4 ″ E
San Giovanni a Carbonara is a religious building complex in Naples , at the end of Via Carbonara. It is one of the most important ensembles of rooms and works of art from the late Middle Ages and the Renaissance in Naples, including above all the famous grave monument of King Ladislao , and the grave chapels of the Caracciolo del Sole and Caracciolo di Vico families .
history
San Giovanni a Carbonara was originally located in front of the city, in an area where rubbish was once burned (hence the nickname Carbonara ). In the Middle Ages, many tournaments were held in this area .
In 1339, Gualtiero Galeota, a Neapolitan nobleman of the Di Capua family , gave several houses and pieces of land to the two monks Giovanni d'Alessandria and Dionigi di Burgo, on which they were to build a place of worship for Saint John the Baptist . Church and monastery and a small cloister were built with interruptions from 1343.
At the beginning of the 15th century, King Ladislao had the whole complex enlarged and embellished with marble decorations and chose the church as his burial place. A new and much larger cloister was also built, named after him ( Chiostro del Re Ladislao or di Ladislao ), and where during the Renaissance meetings of famous intellectuals and humanists took place, including Giovanni Pontano , Jacopo Sannazaro and Benedetto Gareth , called “ Chariteo ”.
Ladislao's sister, Queen Johanna II, also preferred the monastery and kept giving the monks considerable sums of money. Later Charles VIII sought refuge in the monastery during a popular uprising.
██ Chiesa della Pietatella a Carbonara
██ Church of San Giovanni a Carbonara
██ Cloisters of the monastery
██ Former Caserma Garibaldi (barracks)
██ Torri aragonesi (former city wall)
After Sergianni Caracciolo , the lover of Johanna II, received a funerary monument in the specially built chapel after his murder (1427), San Giovanni a Carbonara was subsequently promoted by various branches of the Caracciolo family . The Cappella Caracciolo di Vico was created in the 16th century as a mausoleum for this branch of the family (see below). While the entire building complex was being restored around 1513 and 1522, Slancia Caracciolo, the Countess of Ailano, donated 1000 ducats for the construction of a new cloister, which is known as Chiostro della Porteria because of its location near the entrance gate to the monastery .
In 1570, at the request of Cardinal Marcello Seripando , another cloister (the Chiostro Nuovo ) was built, where an important library was housed, which existed until 1729. That year, on the orders of Emperor Charles VI. almost all manuscripts and Greek and Latin codices from this library were transferred to Vienna . Other parts of the library were lost during the ten years of French rule under Murat at the beginning of the 19th century, the rest is now in the Biblioteca Nazionale of Naples.
After the devastating earthquake of 1688, the buildings had to be restored and the monks decided to set up a novitiate and boarding school in the monastery . This was frequented by the sons of some of the most influential noble families of Naples and was an important center of humanism and science. In the 18th century, a school for the servants of the nobles was founded, which also received its own chapel.
At the beginning of the 18th century, Ferdinando Sanfelice built the monumental staircase in front of the church and the church of Santa Maria Consolatrice degli Afflitti below.
Like many others, the monastery was closed in the 19th century and converted into barracks - the so-called Caserma Garibaldi. In 1856 the church was restored by Federico Torvagnini .
During the Second World War , the building complex was badly damaged by the bombings in 1943 and had to be restored after the war.
The outer
It is a relatively nested complex of various churches, chapels and courtyards.
One climbs up to the church via the double staircase from Piperno , built by Ferdinando Sanfelice 1707-08 . At the bottom left of the stairs is the Chiesa della Pietatella a Carbonara . Between the staircases at the foot of the actual church is the entrance to another small church (or chapel) from the 18th century: the Chiesa della Consolazione a Carbonara , in which you can see a statue of John the Baptist by Annibale Caccavello ; the main altar by Giuseppe Sanmartino was originally in the church of San Giovanni above.
The representative facade visible above the stairs is actually the entrance to the Cappella di Santa Monica (see below), which is to the right of the sanctuary of San Giovanni. To get to the actual church, you have to turn left and go through a portal into the inner courtyard behind : Here is the side facade with the entrance of San Giovanni. The building on the far left is the Cappella Seripando .
The facade of San Giovanni is characterized by a Gothic portal that has been the only access to the church for centuries. Eight coats of arms of the Anjou are attached to its pillars around the arch and the sun ( sole ) as a symbol of the noble family Caracciolo del Sole. The lunette above the portal was probably frescoed by Leonardo da Besozzo .
The inner
plan
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The plan of San Giovanni corresponds to a Latin cross , with a single rectangular nave and several irregularly distributed side chapels . The room is covered by a wooden roof structure ( soffitto a capriate ).
Access to the church is through a portal on the right side wall. Exactly opposite the entrance on the left wall of the nave is the large Miroballo altar (also called Cappella Miroballo ), some of which still has remains of gilding . Like the whole church, it is dedicated to John the Baptist and is considered the work of Tommaso Malvito or Jacopo della Pila . In addition to several figures of church fathers, there are also female allegorical figures such as moderation and strength in the lowest area . Above it in a semicircular arch a relief with an enthroned Madonna and Child with Saints John the Baptist and John the Evangelist and the founders Troiano Miroballo and his wife . At the top of a tondo you can see the blessing Christ and above the Archangel Michael .
To the left, in front of a niche with frescoes from the life of St. Nicholas of Tolentino , is the tomb of Antonio Miroballo by Lorenzo Vaccaro .
On the far left at the far end of the church (formerly the main entrance) is the entrance to the magnificent Cappella di Somma , which was created by Annibale Caccavello and Giovan Domenico D'Auria from 1557 to 1566 . Its walls and vaults are completely decorated with frescoes and white marble decorations.
To the right and left of the entrance to the Cappella di Somma there are two altars: the Altar of the Purification ( della Purificazione ) and the Altar of the Madonna del Carmine ( Altare del Carmine ). Nearby is another Madonna and Child by Michelangelo Naccherino from 1601, and the tomb of Biagio Marsicano by the hand of Annibale Caccavello (1565–1567).
To the right of the Miroballo altar is a marble altar with a splendid altarpiece of the Madonna of the Rosary .
In the nave there is also the altar of the Madonna delle Grazie (Madonna of Grace) and a sculpture of a Madonna and Child - both works by Michelangelo Naccherino from 1578.
Eighteen pictures by Giorgio Vasari once hung in the old sacristy .
The triumphal arch to the choir is flanked on the left and right by two sculptures depicting John the Baptist and Saint Augustine .
In the apse behind the main altar , the famous raises grave monument of King Ladislao . In the choir on the right a crucifixion by Giorgio Vasari; on the left is the entrance to the Cappella Carracciolo di Vico (see below).
Tomb monument of King Ladislao
The grave monument of King Ladislao was commissioned by his sister Johanna II of Anjou . It was started in the year of his death in 1414 and completed in 1428 and is mostly attributed to Andrea da Firenze , but could also be a joint work of various Tuscan and Lombard sculptors. The architectural framework is largely still characterized by Gothic forms, although individual elements, such as the wide semicircular arch in the middle, already refer to the early Renaissance.
The main body of the monument rests on four allegorical caryatids , which embody the virtues of moderation ( Temperanza ), strength ( Fortezza ), caution ( Prudenza ) and generosity ( Magnanimità ). The entrance to the Cappella Caracciolo del Sole is located between the two central figures .
Six seated figures are positioned in the niche on the floor above, in the middle under the arch are the enthroned sovereigns (and siblings) Ladislao and Johanna, surrounded by four smaller sculptures, which in turn represent the virtues of charity ( Carità ), faith ( Fede ) and hope ( Speranza ) and Appreciation ( Valore ). Above is Ladislao's sarcophagus , which is decorated with small sculptures depicting Ladislao himself and Johanna, as well as Carlo III. and Margherita. On the sarcophagus the reclining figure of the deceased with a blessing bishop behind it. In the tympanum above you can see a Madonna and Child between Saints John the Baptist and Augustine . At the very top is the equestrian statue of King Ladislao , who victoriously stretches his sword into the air - probably a symbolic allusion to Saint George or the Archangel Michael , who were depicted in a very similar way (Michael e.g. at the Miroballo altar ) .
The supporting pillars of the monument are decorated with sixteen statuettes of apostles , prophets and kings, while the royal coats of arms are depicted on the Gothic eyelashes and in some other places.
Cappella Carracciolo del Sole
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If you go through the central caryatids of the tomb monument to King Ladislaus, you will reach the circular Cappella Carracciolo del Sole . Your floor is covered with valuable majolica tiles from the 15th century, on which, in addition to the repeatedly appearing heraldic lions and suns with wave-shaped rays - the emblems of the Caracciolo del Sole family - various animals, plant motifs and contemporary human figures can be seen.
The walls were in the second half of the 15th century complete with frescoes painted in the lower register, a cycle on the life of the Augustinians of Perinetto as Benevento , and above Marie cycle from which Milan originating Leonardo da Besozzo . Above the entrance are the Presentation of Mary in the Temple and the Death of Mary by Perinetto, and several paintings by Antonio da Fabriano , who depicted the Nativity , the Annunciation and various saints .
In the chapel there is also the tomb of Sergianni Caracciolo , Grand Seneschal ( Gran Siniscalco ) of the empire and lover of Queen Joan II, who was murdered in 1427. It was probably commissioned by the deceased's brother and executed in 1441 by Andrea da Firenze and a Lombard sculptor. The sarcophagus , carried by three warriors, has a relief on which two elegant angels hold a wreath and the family coat of arms with a lion. In addition to various other sculptures - including a Madonna and Child - is the statue of the deceased Sergianni above between two lions. The inscription below was written by the presbyter , humanist and philosopher Lorenzo Valla .
- Frescoes of the Cappella Caracciolo del Sole (selection)
Leonardo da Besozzo: Birth of Mary
Leonardo da Besozzo: Presentation of Mary in the Temple
Leonardo da Besozzo: Annunciation of Mary
Leonardo da Besozzo: Death of the Virgin Mary
Perinetto da Benevento: Life of the Augustinian Hermits (15th century)
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Cappella Carracciolo di Vico
The Cappella Carracciolo di Vico is to the left of the presbytery . It is a typical and representative work of the High Renaissance and was completed in 1516 after 17 years of work. The marble decorations were designed by an architect from the Bramante school ; its execution is attributed to Giovanni Tommaso Malvito .
This chapel is also a rotunda with a coffered dome and a multicolored marble floor with geometric decoration. The only sources of light are in the top of the dome and in the drum , which is decorated with figures of the apostles , including St. Peter by Giovanni da Nola (1540). The walls are divided by Doric columns, between which niches with statues of Saints Paul, Andrew and John open. The marble altar is the work of the Spanish sculptors Diego de Siloé and Bartolomé Ordóñez ; a statue of John the Baptist by Girolamo Santacroce once stood in a now empty niche . The two ground-level statues in front of the niches represent Carlo Maria (1643) and Marcello Caracciolo (1573), and were created by Ercole Ferrata and Girolamo D'Auria .
In front of the two marble-clad niches next to the entrance are two busts: Lucio Caracciolo from the workshop of Giuseppe Sanmartino , and Carlo Andrea Caracciolo by Giuliano Finelli (1643).
The two great tombs of Galeazzo Carracciolo and Nicolantonio Carraciolo are works by Giovanni Domenico D'Auria and Annibale Caccavello (1557).
Entrance of the Cappella Caracciolo di Vico
Tomb of Galeazzo Carracciolo (1573)
Marble floor of the chapel
Tomb of Nicolantonio Caracciolo by Annibale Caccavello and Girolamo D'Auria (1573)
Look into the dome
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Cloisters
The building complex of San Giovanni a Carbonara includes three cloisters , which are located on Via Carbonara, between the church and the former Caserma (barracks) Garibaldi.
The great Chiostro del Re Ladislao was built by King Ladislao at the beginning of the 15th century. According to an old legend , a brother named Cristiano Franco is said to have planted an apple tree with the roots up towards the sky in the presence of the king . The tree is said to have "immediately" borne leaves, flowers and fruits. A representation of this miraculous event is inside the church. On the walls there are still remnants of a cycle of frescoes about the birth of Christ from the 15th century. In the 15th and 16th centuries, the cloister was the scene of educated gatherings of humanists such as Jacopo Sannazaro, Giovanni Pontano and Benedetto Gareth, known as “Chariteo”.
Over the centuries, two more cloisters were added, which are currently partially affected by the addition of modern masonry. The Chiostro della Porteria donated by Slancia Caracciolo from the first half of the 16th century near the gate and the Chiostro Nuovo , built in 1570 at the request of Marcello Serripando , in whose adjoining buildings the important library of the cardinal was housed.
Cappella di Santa Monica
The Cappella di Santa Monica is on Via Carbonara, directly above the baroque staircase; seen from San Giovanni a Carbonara, the chapel is on the right side of the apse , opposite the Cappella Caracciolo di Vico.
The marble entrance portal from the first half of the 15th century, attributed to a pupil of Andrea Guardi, deserves attention. On the left are statues of Saints Agathe , Katharina and Barbara , and on the right Anastasia , Apollonia and Ursula . Above you can see on the left the Archangel Gabriel and John the Baptist, and on the right the Madonna and St. Augustine . The fresco with the Glory of the Virgin Mary in the tympanum is attributed to Leonardo da Besozzo, above you can see a bas-relief with two angels holding a tondo with Christ blessing. the whole is crowned by a Madonna and Child .
The chapel was built in the 15th century at the request of the Sanseverino family , probably by Ruggero Sanseverino († 1433) and his wife Covella Ruffo di Corigliano, whose coats of arms are carved on the base of the pillars of the entrance portal. It is a single-aisled room that today only houses the tomb of Ruggiero Sanseverino , created by Andrea Guardi in the 1430s .
literature
- AA.VV .: Napoli e dintorni , Touring Club Italiano, Milan, 2007, pp. 225-230. ISBN 978-88-365-3893-5
- Francesco Abbate: Storia dell'arte nell'Italia meridionale: Il Sud angioino e aragonese , Donzelli Editore 1998. ISBN 978-88-6036-413-5
- Maria Rosaria Costa: I chiostri di Napoli , Newton & Compton, Rome, 1996
- Loredana Gazzara: Napoli . Mondadori-Electa, Milan, 2007, pp. 108-111.
- Achille della Ragione: Un capolavoro poco noto , Naples, 2013
- Nicola Spinosa (scientific coordination), Gemma Cautela, Leonardo Di Mauro, Renato Ruotolo (eds.): Napoli sacra. Guida alle chiese della città , Naples, 1993–1997.
See also
Web links
- Entry on the UNESCO World Heritage Center website ( English and French ).
- “San Giovanni a Carbonara” on the “napoligrafia” website , viewed on March 12, 2019 (Italian; source for this article)
- Brief information about "San Giovanni a Carbonara" on "www.neapel-stadt.de" , seen on March 12, 2019 (German)
- Information about the Church on cosedinapoli.com , viewed March 13, 2019 (Italian)
- "San Giovanni a Carbonara" on Facebook , as seen on March 13, 2019 (Italian)
- “San Giovanni a Carbonara” on the “napoli-turistica” website , viewed on March 13, 2019 (Italian)
Individual evidence
- ↑ a b c d e f g History of “San Giovanni a Carbonara” on the “napoligrafia” website , sub-item: storia e architettura , viewed on March 12, 2019 (Italian)
- ↑ "San Giovanni a Carbonara" on "www.neapel-stadt.de" , seen on March 12, 2019 (German)
- ↑ a b c d Cloisters of “San Giovanni a Carbonara” on the “napoligrafia” website , viewed on March 12, 2019 (Italian). The information there comes from the book by Maria Rosaria Costa: I chiostri di Napoli , Newton & Compton, Rome, 1996.
- ↑ a b c d e f g h i j k "San Giovanni a Carbonara" on the website "napoligrafia" , sub-item: Chiostro di Ladislao , seen on March 12, 2019 (Italian)
- ↑ a b "San Giovanni a Carbonara" on the "napoligrafia" website , sub-item: Chiostro della Porteria , seen on March 12, 2019 (Italian)
- ↑ a b c d "San Giovanni a Carbonara" on the "napoligrafia" website , sub-item: Chiostro Nuovo , seen on March 12, 2019 (Italian)
- ↑ a b c d e “San Giovanni a Carbonara” on the “napoligrafia” website, subsection : L'esterno , viewed on March 12, 2019 (Italian)
- ↑ a b c “San Giovanni a Carbonara” on the “napoligrafia” website, subsection : storia e architettura , viewed on March 12, 2019 (Italian)
- ↑ a b c “San Giovanni a Carbonara” on the “napoligrafia” website , sub-item: Cappella Miroballo , seen on March 12, 2019 (Italian)
- ↑ a b c “San Giovanni a Carbonara” on the “napoligrafia” website, subsection : storia e architettura , viewed on March 12, 2019 (Italian)
- ↑ a b c d e f g h “San Giovanni a Carbonara” on the “napoligrafia” website , sub-item: Monumento funebre di Re Ladislao , viewed on March 12, 2019 (Italian)
- ↑ a b c d e f g website "napoligrafia" , sub-item: Cappella Carraciolo del Sole , seen on March 12, 2019 (Italian)
- ↑ a b c d e f "San Giovanni a Carbonara" on the "napoligrafia" website , sub-item: Cappella Carracciolo di Vico , seen on March 12, 2019 (Italian)
- ↑ a b c d e f g “Cappella di Santa Monica” on the “napoligrafia” website , viewed on March 12, 2019 (Italian)