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San Giorgio dei Genovesi, Naples

17th-century Roman Catholic church buildings in ItalyBaroque architecture in NaplesRoman Catholic churches in Naples
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San Giorgio dei Genovesi (or San Giorgio alla Commedia Vecchia) is a church on Via Medina in the Center of Naples, Italy. It is adjacent and just north of the Church of the Santa Maria Incoronata, two doors south from the Palazzo d’Aquino di Caramanico, and across the street from the Church of the Pietà dei Turchini. The church was designed in the early 17th century based on designs by Bartolomeo Picchiatti. The original name derives from its attachment to the Genoese community in Naples. The interior is a Latin Cross plan with abundant stucco decoration and a cupola. The interior has a Caravaggesque painting of St Anthony resurrects a dead man by Battistello Caracciolo. The third chapel on right has frescoes (1770) by Giacomo Cestaro and a painting depicting St George slays the Dragon by Andrea da Salerno. The altar has a marble relief of Sant'Agostino of the 17th century Tuscan school. The facade of the church is simple. The alternate name indicates the church was built at the site of the Neapolitan Commedia dell'arte Theater of the Commedia Vecchia.

Excerpt from the Wikipedia article San Giorgio dei Genovesi, Naples (License: CC BY-SA 3.0, Authors, Images).

San Giorgio dei Genovesi, Naples
Via dei Greci, Naples Municipalità 2

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N 40.841507 ° E 14.251835 °
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Chiesa di San Giorgio dei Genovesi

Via dei Greci
80133 Naples, Municipalità 2
Campania, Italy
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Santa Maria Incoronata, Naples
Santa Maria Incoronata, Naples

Santa Maria dell'Incoronata is an ancient church on Via Medina in Naples, Italy. It is located just south of San Giorgio dei Genovesi and across the street from the Church of Pietà dei Turchini. The church was built in the 14th century in Gotico Angioiano style as part of urban project around the Castel Nuovo, the royal palace of Charles II of Anjou. The church was founded in 1364, not as tradition holds, in memory of the coronation of Joanna I of Naples and her second marriage to Louis, Prince of Taranto, but to hold a precious relic, a spine from the thorny crown of Christ, which the queen had requested from Charles V of France, and whose portrait is kept in the entrance. The edification of the Palace chapel or cappella palatina outside of the Castle, was completed in a difficult moment for the Queen, after the death of her husband in 1362. In 1403 Ladislaus of Naples ordered the painting of a cycle of Saint Ladislaus' legend in the church (finished 1414). There the Hungarian king is depicted receiving the royal crown, also fighting against the pagans, and receiving the crown of Croatia. Originally a small hospital was constructed attached to the church, and the entire complex was under the jurisdiction of the Carthusian Monastery of San Martino, till the end of the 16th century. The church was reconsecrated in the 18th century, after years of disuse, and restored over the centuries. However the interior has been stripped on most of its former Baroque decoration.

Graziella al Porto Napoli

The church of the Graziella al Porto Napoli or Santa Maria delle Grazie al Porto Napoli is a small Roman Catholic temple in Naples, Italy. The church is just behind the church of Pietà dei Turchini, on vico Graziella al Porto. It is accessible through narrow alleys from via Medina, along the church of San Diego dell’Ospedaletto and the former Royal Conservatory, but also by a pedestrian alleys from via Guglielmo San Felice and via De Pretis. It is located in the rione San Giuseppe Carità. In 1737, the architect Angelo Carasale, in order to signal his gratitude to the providence granted by the Virgin, decided to erect this church, initially named Santa Maria delle Grazie. Angelo Carasale had found success when he was granted direction of the Teatro San Bartolomeo by King Charles III. The church was in the custody of the Mercedarian order until 1801, when it was transferred to the Confraternity of Santi Bernardo e Margherita. That group merged in 1859 with the Confraternity of Santa Maria Visita Poveri. Since the 1980 Irpinia earthquake the church has remained closed, like many other nearby churches including Santa Barbara dei Cannonieri and San Giacomo degli Italiani. The main altar has a canvas of the Virgin granting a banner to San Pietro Nolasco by Giuseppe Bonito and two lateral canvases Madonna and San Carlo Borromeo also by Bonito, and a Crucifixion by M. Rossi. San Pietro Nolasco was the founder of the Mercedarian order.

Palazzo della Casa del Mutilato, Naples
Palazzo della Casa del Mutilato, Naples

The Palazzo della Casa del Mutilato (Palace of the House of the Mutilated) is a building, located on via Guantai Nuovi and via Diaz, in piazza Matteotti in Naples, Italy. It is an example of the Fascist architecture constructed during the rule of Benito Mussolini, just like the large convex-facade of the central post office building (Palazzo delle Poste) across the street. The Casa del Mutilato building was constructed from 1938 to 1940 for the Associazione Nazionale fra Mutilati ed Invalidi di Guerra (National Association of Soldiers Mutilated and Invalid from War). It was inaugurated after the start of the second world war. The building design was commissioned from Camillo Guerra. The predilection of the word Mutilato as opposed to invalidi (invalid) or feriti (wounded) or offeso (injured) is not lacking of connotation. It is true that amputation or unrepairable injuries were more common during the first world war than our present conflicts, and thus the residual observations of the wounded included "mutilated" individuals, however, there was a fascist attachment to Gabrielle D'Annunzio historical assessment of the results of the 1919 Paris Peace Conference for Italy as a Vittoria Mutilata (Mutilated victory), and that this idea fueled the rise of nationalism. Thus the term "mutilato" would have had more positive resonance to the followers of fascism. Multiple such Casa del Mutilato were established in Italy to service the thousands of wounded soldiers. The exterior is modern and stern in its predominance of stone. The entrance at the corner has a frame of stone panels, sculpted by Vico Consorti and Giuseppe Pellegrini. The atrium has a monumental entry staircase surmounted by a statue of Victory. The interior still contains decorations that recall the fascist party. Similar office buildings were built during the Mussolini era in Milan and Ravenna.