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Italia Napoli Cappella Sansevero3

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The Cappella Sansevero (also known as the Capella Sansevero de' Sangri or Pietatella) is a chapel located in the historic center of Naples. The chapel contains works of art by some of the leading Italian artists of the 18th century.
Its origin dates to 1590 when John Francesco di Sangro, Duke of Torremaggiore, after recovering from a serious illness, had a private chapel built in what were then the gardens of the nearby Sansevero family residence, the Palazzo Sansevero. The building was converted into a family burial chapel by Alessandro di Sangro in 1613 (as inscribed on the marble plinth over the entrance to the chapel). Definitive form was given to the chapel by Raimondo di Sangro, Prince of Sansevero, who also included Masonic symbols in its reconstruction. Until 1888 a passageway connected the Sansevero palace with the chapel

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  • @johndemi Thank you John, thank you
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  • @Oresta Cojocaru Într-adevăr nu ajung cele vreo două ore cât am stat acolo...Mulțumesc că te uiți cu atenție
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  • Beautiful work Michaela,thank you.
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  • E electrizanta povestea ce ne-o transmite Raimondo di Sagro prin aceasta minunata Cappella, dedicata virtutilor membrilor marii familii! O plasa grea i-a prins in capcana ei parintii, transferand fiului lor toate virtutile ratate de ei. Pentru relaxare, ma gandesc la sculptorii care au dat atata finete marmurei, si la sudoarea chinuitoare pana au finalizat fiecare carliont in parte. Ca sa nu mai spun de lupta interioara de-a ajuta spiritul sa invinga, in lupta cu ispitele naturii nemiloase, pana au dat forma finala sanilor care intotdeauna au beneficiat de libertate maxima. A fost frumos. Puteam ramane aici vreo zece zile!
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  • Me alegra de que te haya sido de tu gusto Alfredo y muchas gracias por tu apoyo. Un abrazo
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Italia Napoli Cappella Sansevero3

  1. 1. Piazza San Domenico Piazzetta Nilo
  2. 2. The current appearance of the Chapel corresponds to a very precise icono-graphic design, conceived by Prince Raimondo di Sangro and realised by the artists who worked under his supervision. From the main door, one enters the single nave, ending in an apse containing the High Altar. The two side walls have four rounded arches, each one containing a tomb, except the third arch to the left of the main entrance, where there is the side door, and the third arch on the right, that opens onto the Tomb of Raimondo di Sangro. The tombs in the side chapels are dedicated to the illustrious ancestors of the di Sangro family, while the sculptures set against the pillars separating the arches are dedicated to the women of the household, past and present (except for Disillusion, erected to the memory of Antonio di Sangro, father of Raimondo). These statues are certainly the focal point of the Prince of Sansevero’s original iconographic design. In fact, they represent different Virtues, stages on a pathway to initiation leading to interior knowledge and perfection. No less important in the overall symbolic context is the floor with its labyrinth motif, designed by the Prince and laid by Francesco Celebrano. An ancient symbol, the labyrinth represents the arduousness of the journey towards knowledge. Some slabs of the eighteenth-century flooring are visible today in the passageway in front of the Tomb of Raimondo di Sangro, and others are displayed in the Underground Chamber and the Sacristy
  3. 3. Statues of the virtues: Self-control by Francesco Celebrano, 1767 This monument commemorates Geronima Loffredo, paternal grand-mother of Raimondo di Sangro. The symbol of the strength of character of the deceased, “never defeated by hostile destiny nor too exalted by fortune”, is this Roman soldier with a tame lion on a chain, almost hypnotised by the man’s gaze: intellect and will thus prevail over instinct, savage energy and the vanity of the passions
  4. 4. In his will Raimondo di Sangro named it as one of the few works in the Chapel that he would like to see redone by a better artist. The subject of control over the passions is a classical theme of the eighteenth-century. Freemasonry, as well as an inescapable stage in any initiation process. In the iconography of the alchemists, the lion is sometimes symbol of primal matter
  5. 5. Statues of the virtues: Sincerity by Francesco Queirolo, 1754- 55
  6. 6. Sincerity Virtue is dedicated to the wife of Raimondo di Sangro, Carlotta Gaetani. As the monument was erected while Carlotta was still alive, the portrait engraved in the medallion is not fully outlined, as was customary in the case of monuments to those still living
  7. 7. Caduceus, symbol of peace and reason was the pagan symbol of Hermes and later represented the Hermetic science. In alchemy, the caduceus symbolises the coincidentia oppositorum, or the union of opposites, sulphur and mercury
  8. 8. Statues of the virtues: Sincerity (details) by Francesco Queirolo, 1754-55
  9. 9. Statues of the virtues: Religious zeal Fortunato Onelli, Francesco Celebrano et al., 1767
  10. 10. Dedicated to Ippolita del Carretto and Adriana Carafa della Spina, wives of the founder of the Chapel Giovan Francesco di Sangro, Religious Zeal is apparently the most “orthodox” work of the Sansevero Chapel
  11. 11. An elderly man with the Light of Truth in one hand, and in the other a lash to punish sacrilege, while he tramples under foot a book from which the serpents of heresy emerge. A putto with a torch completes the work of destroying the heretical texts, and two other puttini hold up the medallion portraying the two women in profile
  12. 12. Statues of the virtues: Sweetness of the marital yoke Paolo Persico, 1768
  13. 13. Raimondo di Sangro dedicated his Sweetness of the Marital Yoke (a fulsome- bellied woman holding a feathered yoke representing sweet obedience, and in her right hand she holds up two flaming hearts: deep mutual love) to the wife of his eldest son Vincenzo, Gaetana Mirelli of the Princes of Teora, when she was in the flower of youth
  14. 14. It is for this reason that the woman’s profile is little more than a sketch in the medallion, as was customary in the case of monuments to those still living
  15. 15. At her feet a winged putto plays with a pelican, emblem of charity. In mediaeval iconography, in fact, the pelican which pierces its own breast to nurse its young represents the sacrifice of Christ on the cross
  16. 16. Lastly, according to the Hermetic tradition regarding alchemy, the blood of the pelican is the so-called natural quintessence
  17. 17. Statues of the virtues: Decorum by Antonio Corradini, 1751-52 This work, dedicated to the first and second wives of Giovan Francesco di Sangro, Prince of Sansevero, represents the quality shared by these two women: decorum
  18. 18. This Virtue is embodied in the form of a youth partially draped in a lion skin. By his side, there is the head of the same animal, resting on a half column, symbolising the victory of the human spirit over unbridled nature
  19. 19. Decorum The youth wears a buskin on his right foot and on the left a simple clog, indicating his dual relationship with the celestial world and the underworld, as well as, for some, his androgynous nature, and also the behaviour each man must adopt as befits his station
  20. 20. Statues of the virtues: Divine Love Francesco Queirolo (?), second half of the eighteenth century Divine Love, dedicated to Giovanna di Sangro of the Marquises of San Lucido, wife of the fifth Prince of Sansevero, Giovan Francesco di Sangro. A youth wrapped in a cloak looking towards the heavens and holding a flaming heart in his right hand extols the noblewoman’s love of God, commemorated in the inscription on the pedestal
  21. 21. Divine Love
  22. 22. Statues of the virtues: Education by Francesco Queirolo, 1753
  23. 23. The monument was set up at the wish of Raimondo di Sangro to the memory of Girolama Caracciolo and Clarice Carafa di Stigliano, first and second wives of Paolo di Sangro, second Prince of Sansevero.
  24. 24. The disciple, carefully listening to the solicitous lessons of the teacher, holds Cicero’s De officiis in his left hand. On the pedestal the motto is “Educatio et disciplina mores faciunt”, i.e. “Education and discipline form good behaviour”
  25. 25. Like control of the impulses (symbolised by Self-control), education through the study of traditional texts and interior discipline represents a compulsory stage in reaching the perfection that the disciple aims for
  26. 26. Statues of the virtues: Liberality by Francesco Queirolo, 1753-54
  27. 27. Liberality is dedicated to the memory of Giulia Gaetani dell’Aquila d’Aragona, wife of the fourth Prince of Sansevero
  28. 28. In her left hand the woman holds a cornucopia overflowing with gold and jewels, while in the right she holds some coins and a compass, emblems of generosity and equilibrium
  29. 29. The eagle, placed symmetrically to the cornucopia, represents strength and temperance, as well as being – according to the mediaeval bestiaries – the only animal capable of looking into the sun
  30. 30. Statues of the virtues: Modesty by Antonio Corradini, 1752
  31. 31. Raimondo di Sangro dedicated the monument to the memory of his “incomparable mother”, Cecilia Gaetani d’Aquila d’Aragona, who died on 26th December 1710, when Raimondo was not yet one year old
  32. 32. The gaze lost in time, the tree of life, and the broken plaque are the symbols of an existence cut short too soon, and express the pain of the son Raimondo, who thus wished to preserve for the future the features and virtues of his young mother
  33. 33. The bas-relief on the pedestal also makes explicit reference to the Gospel story Noli me tangere (Christ appears to the Magdalene dressed as a gardener).
  34. 34. The intention of commemorating Cecilia Gaetani is not the only meaning of this statue. The veiled woman can be interpreted as an allegory of Wisdom, and the reference to the veiled Isis, special divinity of the science of initiation, appears extremely clear (without considering that a long tradition, in reality unsub- stantiated, holds that Modesty is situated in the place where once a statue of Isis stood in the Greek Neapolis)
  35. 35. Statues of the virtues: Disillusion Francesco Queirolo, 1753-54
  36. 36. Queirolo’s masterpiece is without question Disillusion, a work dedicated by Raimondo di Sangro to his father Antonio, Duke of Torremaggiore. After the premature death of his wife, Antonio led an eventful and disordered life, entrusting his son to the care of his grandfather Paolo. “Enslaved – as the plaque states – to youthful passions”, the Duke travelled throughout Europe, but in his old age, now tired and repentant of his errors, he returned to Naples, where he spent his last years in the tranquility of the priestly life
  37. 37. The group of sculptures describes a man who has been set free of sin, represented by the net into which the Genoese artist put all his extraordinary skill
  38. 38. A little winged spirit, with a small flame on his forehead, a symbol of human intellect, helps the man to free himself from the intricate netting while pointing to the globe at his feet, symbol of worldly passions. An open book rests on the globe; it is the Bible, a sacred text, but also one of the three “great lights” of Masonry
  39. 39. The bas-relief on the pedestal, with the story of Jesus restoring sight to the blind, accompanies and strengthens the meaning of the allegory
  40. 40. Text & pictures: Internet All  copyrights  belong to their  respective owners Presentation: Sanda Foişoreanu https://plus.google.com/+SandaMichaela Sound: Pergolesi - Stabat Mater (fragment)- Julia Lezhneva, Philippe Jaroussky 2018

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