Category: Naples

Chiesa del Gesù Nuovo in Naples is a landmark of Neapolitan Baroque, seamlessly blending architectural innovations of its era. Initially built in 1470 as the Palazzo Sanseverino, the Jesuits acquired the structure in 1584 and transformed it into a church under the direction of Giuseppe Valeriano (1542–1596), a Jesuit architect from Abruzzo. Valeriano reimagined the building while preserving its distinctive diamond-rusticated façade, which remains one of its most recognisable elements.

At the heart of the church is the grand altar, a masterpiece by Cosimo Fanzago (1591–1678), a sculptor and architect from Clusone who became the most prolific sculptor in Naples. The altar, a triumph of marble inlay and gilding, epitomises Baroque art’s  emotional intensity. Its design naturally draws the viewer’s gaze toward the dome, fostering a sense of spiritual elevation. The original dome, painted by Giovanni Lanfranco (1582–1647), was destroyed in the 1688 earthquake and later repainted by Paolo de Matteis (1662–1728). De Matteis’s frescoes, depicting dynamic heavenly scenes, combine Baroque theatricality with lighter Rococo influences.

The interior is an extraordinary example of integrated Baroque design, featuring contributions from some of the era’s greatest artists. Belisario Corenzio (1558–1646), a Greek-born painter active in Naples, decorated the vault, while Massimo Stanzione (1585–1656) adorned the apse and upper vault, merging Caravaggist realism with vivid colouration. Giovanni Bernardino Azzolino (1572–1645) crafted the altarpiece in the Chapel of Saint Francis Xavier, and Luca Giordano (1634–1705), a Neapolitan artist celebrated for his speed and energy, painted frescoes in the same chapel. In the Chapel of St. Ignatius of Loyola, Jusepe de Ribera (1591–1652), a Spanish-born painter working in Naples, created intensely dramatic scenes from St. Ignatius’s life, employing chiaroscuro to heighten the emotional impact

The ‘Paradise’ fresco in the Royal Chapel of the Treasure of San Gennaro in Naples Cathedral, painted by Giovanni Lanfranco (1582–1647), is a masterpiece of Baroque art. Completed in 1643, it presents a breathtaking vision of saints and angels ascending towards God. Yet, its creation was anything but serene, plagued by conflict, scandal, and fierce competition.

The chapel, commissioned in 1608, became a battleground for major artistic commissions. Domenico Zampieri, known as Domenichino (1581–1641), was invited from Rome in 1631 to undertake the project but encountered fierce opposition from the Cabal of Naples—a group of artists, including Jusepe de Ribera (1591–1652), Battistello Caracciolo (c. 1578–1635), and Belisario Corenzio (c. 1558–1646). These artists sought to dominate Naples’ art market through sabotage and intimidation. Domenichino faced the defacement of his work, harassment, and death threats. In 1641, he died under suspicious circumstances, with many suspecting poisoning at the hands of his rivals.

Lanfranco, Domenichino’s long-standing rival, managed to secure his safety and position in Naples, possibly through strategic negotiations or sharing parts of the work or profits. He took over the project, erasing Domenichino’s designs and asserting his own artistic vision. Completing the dome fresco cemented his reputation while rewriting the chapel’s artistic narrative.

This rivalry illustrates the darker side of Italy’s libertarian 17th-century art market. Unlike the highly regulated guild systems in the Netherlands, which imposed strict rules, taxes, and barriers to entry, Italy’s more open market allowed for artistic mobility and opportunities. Local and foreign artists could travel, settle, exchange ideas, and secure commissions from various patrons. However, this freedom also bred unchecked competition, sabotage, and exploitation, creating a volatile environment for ambitious artists.

Lanfranco’s ‘Paradise’ exemplifies this duality. While the lack of regulation encouraged bitter rivalries and conflicts, it also fostered creativity and collaboration that defined the Neapolitan Baroque.

Chiesa di Santa Caterina a Formiello, situated beside Porta Capuana in Naples, reflects an architectural journey that began with the principles of the Florentine Renaissance school in the early 16th century and later embraced the opulence of 17th- and 18th-century Baroque transformations. Its evolution, shaped by contributions from notable architects and artists, exemplifies the fusion of Renaissance clarity with the theatrical and emotional intensity characteristic of Neapolitan Baroque.

The present church was constructed between 1510 and 1593, adhering to the principles of Florentine Renaissance design. The architect Romolo Balsimelli is traditionally credited with its conception. His work drew inspiration from Filippo Brunelleschi (1377–1446) and other Florentine masters, employing a Latin cross layout with a single nave and a barrel-vaulted ceiling. The structure’s clear lines and harmonious proportions reflect the Renaissance ideals of balance and order.

The cloister, completed in 1514, was designed by Antonio Fiorentino della Cava. It features two tiers of arches supported by Ionic columns, combining Norman influences with Renaissance stylistic elements.

In subsequent centuries, the Renaissance church became a canvas for Baroque embellishments. A key feature of the church is its Renaissance dome, later transformed with Baroque decoration. In 1712, Paolo de Matteis (1662–1728) painted frescoes on the dome, infusing it with vibrant colours and dynamic compositions that epitomise Baroque theatricality. Between 1708 and 1709, Guglielmo Borremans (1672–1744) adorned the vault and lunettes of the transept with scenes depicting Saint Dominic and the Virgin pacifying Christ’s wrath. Swirling clouds, dramatic gestures, and a masterful interplay of light and shadow characterise these frescoes, hallmarks of Baroque artistry.

The counter-façade features frescoes by Luigi Garzi (1638–1721), painted between 1695 and 1697. His works, including The Martyrdom of Saint Catherine and The Marriage of Saint Catherine of Alexandria, emphasise movement, emotion, and intricate details, adding to the church’s profound sense of spiritual drama.