Sant'Anna dei Lombardi
| Chiesa di Sant'Anna dei Lombardi, Santa Maria di Monteoliveto, Monteoliveto
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| Patronage : | Anna |
| Order : | Olivetaner (formerly) |
Coordinates: 40 ° 30 '14.9 " N , 14 ° 9' 0.7" E
Sant'Anna dei Lombardi ( Italian : "Saint Anne of the Lombards") or Santa Maria di Monteoliveto is a church of St. Anna in Naples and one of the most important examples of Tuscan s renaissance in this city. It is located on the Piazza Monteoliveto in the historic city center and is therefore a UNESCO World Heritage Site .
history
The church was built from 1411 onwards as a foundation by Gurello Origlia, protonotary at the court of Ladislaus of Naples . It was entrusted to the Order of the Olivetans and was therefore called Santa Maria di Monteoliveto or Chiesa di Monteoliveto for short . As a result, it was a favorite church of the rulers of the House of Aragón and was significantly enlarged under King Alfonso I.
Various important artists of the Florentine Renaissance such as Antonio Rosselino , Benedetto da Maiano and Giorgio Vasari worked in the church in the 15th and 16th centuries . Renovations took place in the 17th century under Gaetano Sacco .
In 1798 the Olivetan monks were expelled from Sicily under Ferdinand I. Instead, the church was handed over to the “ Arch- Brotherhood of the Lombards” ( arciconfraternita dei Lombardi ) because their own church, which was consecrated to St. Anne, had recently been devastated by fire (three of Caravaggio's pictures were also destroyed). For all the reasons mentioned, the church of Monteoliveto was officially renamed Sant'Anna dei Lombardi in 1801.
The facade suffered severe damage from Allied bombing in World War II and later had to be partially rebuilt.
description
plan
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Exterior
Despite later interventions, the church is clearly marked by the Florentine Renaissance, both outside and inside. The facade made of Piperno is very simple and looks defensive and almost a bit repellent. Through an arch you first enter the atrium , where the tomb of the famous architect Domenico Fontana is located, which was built in 1627 by his sons Sebastiano and Giulio Cesare Fontana and originally stood in the destroyed church of Sant'Anna before it was brought here.
The inner
The interior is also relatively plain and austere in its shapes and colors, in the spirit of the early Renaissance; later baroqueizations were rather cautious. It is a single nave with side chapels and apse , but without a transept and dome. The walls are kept in white and light gray, the room is given rhythm by Corinthian pilasters and intermediate round arches and has a simple wooden coffered ceiling .
The entrance portal is flanked by two altars , on the left the altar Ligorio by Giovanni da Nola (1532) and on the right the altar del Pezzo by Girolamo Santacroce (1524). Both are masterpieces of Renaissance sculpture. Since Nola's Ligorio altar presents a Madonna del Soccorso as the main work , and next to it statues of St. Andrew and Girolamo , on the altar attachment you can see the relief of San Francesco di Paola saving hikers who were buried by an avalanche . The center of Santacroce's Del Pezzo altar is a Madonna and Child , next to it figures of Saints Peter and John the Baptist , the altar front shows a representation of Christ and Peter on Lake Tiberias .
On the gallery above is the magnificent organ with its richly carved and gilded Mannerist case; it was renovated in 1904 by F.lli Lingiardi from Pavia . Battistello Caracciolo painted frescoes with angels on both sides at the beginning of the 17th century .
The organ
In the area above the arcades of the side chapels between the windows there are a total of ten oil paintings (five on each side) with scenes from the life of St. Bernardo Tolomei and the origins of the Olivetan order by Gabriele De Sabato (1720).
In the square presbytery is the large main altar with spectacular marble inlay from the second half of the 17th century. It was designed by Giovan Domenico Vinaccia and created by Bartolomeo and Pietro Ghetti . Behind it, in the center of the apse wall, hangs the altar painting The Education of the Virgin Mary by Angelo Mozzillo from the beginning of the 19th century. In the lower area on both sides of the altarpiece are niches with two memorial plaques for the founders of the church, Gurello Origlia and Alfons I, next to them on the right and left side walls, also in small niches, various grave monuments; the right of Giovan Paolo Vassalli and Nicola Asciomo were created around 1500 by Tommaso Malvito and his workshop. In the area above, under the cornice , there is a wide frieze with frescoes from the 16th and 17th centuries depicting scenes from the life of St. Benedict . The tribune is the work of Giovan Battista Cavagna from 1591. The carved choir stalls are by Giovanni Francesco d'Arezzo .
A door on the right leads to the Vasari's sacristy and other adjoining rooms.
Chapels
Round arches to five side chapels open to the left and right ; there are another three chapels next to the presbytery, two on the left and one on the right. A corridor to the right in front of the choir leads to other important rooms in the monastery: the Oratorio del Santo Sepolcro , the Cappella dell'Assunta , the New Sacristy ( Sacrestia Nuova ) and the Old Sacristy, which is also known as the Sacristy of Vasari after its creator ( Sacrestia del Vasari ).
The most important side chapels are the Cappella Piccolomini and the Cappella Correale - the first two chapels to the right and left of the entrance. In the other chapels there are tombs of Neapolitan noble families from the 15th century and baroque vault frescoes by Giuseppe Simonelli , Baldassarre Aloisi , Nicola Malinconico , Francesco Solimena and others. a.
Left side
Through the first arcade on the left one enters an anteroom with a relief of the crucifixion with Mary, John and Magdalena by Giulio Mazzoni and on the right a painting of the Ascension of Christ with Saints Sebastian and Nicholas of Bari by an anonymous artist around 1500.
On the left, a large arch opens up to the actual Cappella Piccolomini , which is considered the most perfect embodiment of the Florentine early Renaissance in Naples. It was built between 1475 and 1490 by order of Antonio Piccolomini († 1493) as a burial chapel for his wife Maria, daughter of Ferdinand I of Naples . The chapel of the Cardinal of Portugal in the Church of San Miniato al Monte in Florence served as a model , but with an emphasis on the sculptural decoration. The artists involved were Giuliano da Maiano and his brother Benedetto , as well as Antonio Rossellino . The construction and decoration of the chapel were also supported by the Strozzi family of Tuscan bankers , who had a branch in Naples through which the artists were paid. On the main wall under an arch there is an altar with the relief Adoration of the Shepherds by Antonio Rossellino and sculptures of Saints James and John , above Tondi with prophets . The tomb of Mary of Aragon is on the left wall; above it are elegant angel figures holding a Madonna and Child , and small putti sit on the sarcophagus itself. The whole thing was also created by Rossellino around 1475 and finished by Benedetto da Maiano after his death. Opposite on the right wall is a marble bench and behind it in the arch is frescoes of an Annunciation from the 15th century. The floor was decorated with polychrome marble in the Cosmaten style.
Cappella Piccolomini : Tomb of Maria d'Aragona by Rossellino and Benedetto da Maiano
Cappella Piccolomini : “Birth of Jesus” at the altar by Maiano and Rosselino
Altar and right side wall in the Cappella Piccolomini
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The second chapel on the left is the Cappella d'Avalos with an altarpiece by Fabrizio Santafede Madonna and Child and Saints Benedict and Thomas Aquinas (1606), the vault and dome frescoes with histories from the Old and New Testaments by Giovan Antonio Arditi and Antonio Sarnelli are already at an advanced stage of decay.
In the third chapel on the left there is a Madonna with Saints Maurus and Placidus by Paolo De Matteis (1708). The frescoes in the vaults and lunettes are by Nicola Malinconico . There are also grave monuments by Giovanni and Carlo Rapario (1576, anonymous) and by Grazia Cavaniglia , a work by Jacopo della Pila (approx. 1470).
The pictorial arrangement of the fourth Cappella Porcinari revolves around the life of Saint Bernardo Tolomei with frescoes by Francesco Di Maria , an altarpiece by Carlo De Rosa , and vault frescos by Paolo De Matteis.
The fifth and last chapel on the left is dedicated to John the Baptist , whose sculpture on the altar was made by Giovanni da Nola in 1516 . The Annunciation and the relief with the Pietà on the altarpiece are by Jacopo della Pila, from the first half of the 16th century. Paolo De Matteis painted the frescoes with glory and saints' lives in the vault.
right side
Through the first arch on the right one enters the Cappella Mastrogiudice , with a Madonna and Child and John the Baptist and Saint by Giovanni da Nola, the tombs of the Mastrogiudice family were made by Girolamo D'Auria at the beginning of the 17th century , the frescoes were painted by Battistello Caracciolo .
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To the right of this is the Cappella Correale (or dell'Annunciazione ), with an altar of Annunciation made of white marble by Benedetto da Maiano (1489), with statues of Saints John the Evangelist and John the Baptist , and two tondi with saints of martyrs ; the predella shows scenes from the life of Jesus . On the left wall is the tomb of Marino Correale from 1490, opposite a marble bench.
The decoration of the second chapel on the right is dedicated to Saint Francesca Romana , with an altar painting by Vincenzo Fato and vault frescos by Giuseppe Simonelli .
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In the following chapel of Saint Anthony of Padua you can see frescoes by Nicola Malinconico on the life of the saint; the statue on the altar and the relief with the sermon of St. Anthony was made by Annibale Caccavello .
The fourth chapel is named after the Scala family, who probably came from Spain and several members of whom were buried here. The altar with a wooden crucifix by an unknown master is from the 18th century, the frescoes by Nicola Malinconico show stories from the life of Christ .
The fifth and last chapel on the right is dedicated to St. Christopher and has a corresponding picture by Francesco Solimena and vault frescos by Giuseppe Simonelli on the altar ; on the wall the “Tomb of Cesare Bosco” di Matteo Bottiglieri .
Chapels of the presbytery
There are a total of three chapels next to the presbytery: on the left the Cappella Tolosa and the Cappella Savarese , and on the right the Cappella Orefice .
The Cappella Tolosa was built in 1492 and 1495 for the Spanish trader Paolo Tolosa , and is considered the work of Giuliano da Maiano , with influences from Brunelleschi's sacristy in San Lorenzo in Florence . The frescoes by Cristoforo Scacco di Verona date from the 15th century , as is the triptych by Reginaldo Piramo da Monopoli with the Madonna and Saints Andrew and Jerome on the altar. The Tondi of terracotta on the dome represent the four evangelists and come from the workshop of the Della Robbia . Originally the choir stalls with wooden inlays, which are now in the sacristy of Vasari, also stood here .
The Madonna with Child and Saints Peter and Augustine in the Cappella Savarese dates from the beginning of the 15th century, including a Pietà and on the walls two paintings by Carlo Sellitto from 1608: Presentation of the Keys to Peter and The Rescue of Peter from the Waters .
The Cappella Orefice has a polychrome marble decoration from the late 16th century and frescoes by Luigi Rodriguez with the life and virtues of the Virgin Mary ; Girolamo D'Auria created the tombs of Antonio Orefice and his son .
Oratorio del Santo Sacramento
To the right of the presbytery, a corridor leads to the Oratorio del Santo Sacramento , the two sacristies, and other rooms.
The first thing you enter is the Oratorio del Santo Sacramento , which consists of three consecutive chapels that merge into one another: the first is the Cappella Fiodo with a few tombs. The one by Antonio d'Alessandro and his wife Maddalena Riccio was created by Giovan Tommaso Malvito and is dated 1491. The tomb of Antonio Fiodo comes from Francesco da Sangallo and Bernardino del Moro . In the middle Cappella Origlia, Pedro de Rubiales painted stories of Jacob and Esau .
The climax of the oratorio is the third and last Cappella del Compianto (Lamentation Chapel) with the famous group of sculptures Lamentation of the Dead Christ ( Compianto sul Cristo morto ) by Guido Mazzoni (1492), which was commissioned by Eleonora of Aragon. Some of the eight figures are portraits of the ruling family of the Aragonese, Joseph of Arimathäa carries z. B. the trains of Alfonso II of Aragon . The naturalistic effect of the extremely expressive figures was originally reinforced by a colored version, which has unfortunately been lost. On the back wall behind it hangs the painting Calvary by Giuseppe Mastroleo , while the side walls are decorated with reliefs, the burial of Jesus on the left is attributed to Girolamo D'Auria, the resurrection on the left is dated 1567.
- Detailed views of Guido Mazzoni's Lamentation of Christ in the Cappella del Compianto mode =
Mary Magdalene
Detail with Jesus and Mary
Detail with John (left) and Joseph of Arimathea (right)
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On the way to the two sacristies, one passes the Cappella dell'Assunta , with an eponymous Assumption of the Virgin by Fabrizio Santafede on the altar; next to it is a small fresco with a portrait of an Olivetan monk by Giorgio Vasari . The chapel also has a maiolica floor and rococo frescos on the ceiling.
- Cappella dell'Assunta
Ceiling frescoes
Altar by Santafede and fresco by Vasari (left)
Sacristies
After the Cappella dell'Assunta , the corridor continues to the sacristies. On the left is the famous sacristy of Vasari , also known as the Old Sacristy ( sacrestia Vecchia ). It is in fact the former refectory of the Olivetan monastery, which was decorated by Giorgio Vasari and assistants, including Raffaellino del Colle, from 1544 to 1545 . The vaulted ceilings were designed according to the then very latest Roman fashion of early Mannerism , with frescoes of allegories (including virtues ) in the large picture frames and an airy and elegant grotesque decoration in between . The ceiling is divided into three quadrants dedicated to the themes of faith , religion and eternity . The whole thing is considered to be one of Vasari's main works (see gallery below).
The walls are adorned with artfully carved and inlaid furniture, which Fra Giovanni da Verona originally created for the Cappella Tolosa between 1506 and 1510 (see gallery below); it was only brought here in 1688 and given a baroque addition when the refectory was converted into a sacristy.
On the altar you can see three works by Girolamo d'Arena : in the center Saint Carlo Borromeo , who comes from the former church of Sant'Anna dei Lombardi (which was also dedicated to Carlo Borromeo) and brought here after its destruction at the beginning of the 19th century has been. Next to it on the left the Archangel Michael and on the right the Virgin Mary .
Above the door on the entrance wall hangs an Adoration of the Shepherds from the school of Vasari, who came here later, next to it on both sides in small niches are sculptures of the Archangel Gabriel and the Virgin Mary , attributed to Giovan Battista Cavagna .
Next door is the New Sacristy ( Sacrestia Nuova ), where there is an altarpiece crucifix with saints by Giuseppe Mastroleo ; the ceiling decoration is reminiscent of that of the Vasari sacristy.
- Details of the ceiling by Vasari and Raffaellino del Colle (allegories)
Allegory of Justice
Allegory of Strength
Allegory of Faith
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- Sacristy of Vasari: marquetry by Fra Giovanni da Verona, 1506-10
- Entrance and altar wall
Altar in the sacristy of Vasari
Entrance wall of the Sagrestia del Vasari
Individual notes
- ↑ a b c d e f g h i j k Loredana Gazzara: "Monteoliveto", in: Napoli . Mondadori Electa, Milan 2007, pp. 88-91
- ↑ Andrea Brancaleone: Umanesimo e rinascimento a Napoli , Naples 2010, p. 54. ISBN = 978-88-910-0152-8
- ↑ a b c d e f g h i j k AA.VV .: Napoli e dintorni , Touring Club Italiano Milano 2007, p. 148
- ↑ a b c d e f g h i j k AA.VV .: Napoli e dintorni , Touring Club Italiano Milano 2007, p. 150
- ^ Nunzio Federico Faraglia: Memorie artistiche della chiesa benedettina dei Santi Severino e Sossio , in: Archivio Storico per le Province Napoletane , Volume III, 1887, p. 251
- ↑ Andrea Brancaleone: Umanesimo e rinascimento a Napoli , Naples, 2010, p. 55. ISBN = 978-88-910-0152-8
- ↑ Article in: Repubblica , June 25, 2011: online
- ^ Cesare Cundari, Arnaldo Venditti: Il complesso di Monteoliveto , Gangemi, 1999
literature
- AA.VV .: Napoli e dintorni , Touring Club Italiano Milano 2007. ISBN 978-88-365-3893-5 (Italian)
- AA.VV .: Napoli sacra. Guida alle chiese della città , Naples, 1993–1997 (Italian)
- AA.VV .: Vasari a Napoli , Paparo Edizioni, 2011 (Italian)
- Andrea Brancaleone: Umanesimo e rinascimento a Napoli, Naples, 2010. ISBN = 978-88-910-0152-8 </
- Cesare Cundari, Arnaldo Venditti: Il complesso di Monteoliveto , Gangemi, 1999
- P. D'Ambrosio: La chiesa di Monteoliveto , 1952
- Loredana Gazzara: “Monteoliveto”, in: Napoli . Mondadori Electa, Milan 2007, pp. 88–91 (Italian)
- Vincenzo Regina: Le chiese di Napoli. Viaggio indimenticabile attraverso la storia artistica, architettonica, letteraria, civile e spirituale della Napoli sacra , Newton e Compton editore, Napoli 2004 (Italian)
- François de Sade: Viaggio in Italia , Bollati Boringhieri, Florence 1996 (translation from the French by G. Ferrara degli Uberti). ISBN 88-339-1004-0 . (Italian)
- Pierluigi De Vecchi, Elda Cerchiari: I tempi dell'arte , Volume 2, Bompiani, Milan 1999. ISBN 88-451-7212-0 (Italian)
See also
Web links
- Sant'Anna dei Lombardi Facebook presence , as seen on October 27, 2018