Santa Maria Incoronatella Church of Pietà dei Turchini

The construction of the church of the Pietà dei Turchini dates back to the same period in which the homonymous conservatory was built. By 1595 the works had already been completed in an area that was, among other things, rather small. From the beginning, the sacred building consisted only of the central aisle, at the sides of which were the ten chapels that can still be seen today. Compared to the current form, however, it lacked the transept and the dome: to build them and enlarge the church, the governors of the conservatory raised a fund with the help of generous benefactors, including the well-known Dutch merchant-banker Gaspar Roomer. The expansion of the church involved the purchase of three apartments and a land that were located in the street of San Bartolomeo, close to the original apse. 3280 ducats were spent just for the purchase, which was followed in 1633 by the demolition works, to make room for the walls of the transept. The works ended in 1639, under the guidance of Felice di Marino. The iron works were entrusted to Diego Pacifico and Giovan Battista Vinaccia, while the glass was commissioned to Carlo Armenante. The dome underwent multiple static restoration interventions. Some documents attest that in 1674, master Giovan Jacopo di Marino, under the direction of the royal engineer Luise Naclerio, reinforced the entire structure. Then in 1688, following the terrible earthquake that damaged many civil and religious buildings, an iron circle was placed to hold the dome. Important renovations of the entire temple took place in 1725 following the appraisals of the engineers Filippo Marinelli, Giuseppe Stendardo and Cristoforo Sion, who had highlighted the static precariousness of the sacred building. The structural works lasted a long time, also because in 1723 a new earthquake caused serious damage to the dome, which was repaired the following year. In 1739 the laying of the floor was assigned to the Neapolitan tilemaker Donato Massa and to the marble worker Carlo Dellifranci. Between 1769 and 1770, the Neapolitan engineer Bartolomeo Vecchione was entrusted with the design and direction of the works for the construction of an atrium in front of the church, now gone, but depicted in the plan of Duke Carafa di Noja (1775). Vecchione himself took care of the reconstruction of the facade. Inside, to the right of the entrance, is the 18th-century wooden pulpit, identifiable with the one designed by Riccardo Du Chaliot. The visit of the church complex will now proceed in a clockwise direction, starting from the left aisle: Chapel n. 1. The patronage of the Chapel, so named for a painting that adorned the lost altar and also known as the chapel of the Agony of St. Joseph, belonged to Giuseppe Della Mura since 1759. The altar, in polychrome marble, dated 1759 on the table, is the work of the marble worker Francesco Raguzzini. On the altar there is an ancon with rich wooden carpentry, with a canvas by Paolo De Matteis in the center depicting the St. Joseph’s Passage, formerly belonging to the Della Mura family. The cymatium with the Everlasting Father is attributed to the late-mannerist painter Pompeo Landulfo. On the walls there are paintings by Domenico Fiasella from Sarzana, in storage since 1980, which previously were in the nearby church of San Giorgio dei Genovesi. On the left, the Madonna in glory with the view of Genoa, on the right the painting by Giovanni Francesco Romanelli depicting the Blessed Tolomei healing a possessed woman. On the pillar on the left, on a gravestone, an inscription and on the walls two epigraphs. Chapel n. 2 The altar, from the 19th-century, with a simple design, is towerd over by a wooden crucifix dating back to the second half of the 17th century. On the cornices of the tympanum there are two putti in stucco that hold, one the chalice, the other the crown of thorns. In the round vault, there are frescoes depicting scenes from the Passion of Christ, reported by the sources to Onofrio de Lione. On the walls, two paintings by an unknown artist close to Andrea Vaccaro: on the left the Oration in the garden, on the right the Flagellation. Of particular note are the two sepulchral monuments of the Soria de Morales, patrons of the chapel. On the left, the cenotaph of Diego Soria, Marquis of Crispano, with above his own bust, a documented work by Pietro Ghetti from Carrara; on the right the tombstone of Diego senior, dated 1641. The monuments are completed by two epigraphs. Chapel n. 3 The chapel was dedicated to San Vincenzo in 1621 by the Marquis of Collenise of the De Ponte family. The altar, in polychrome marble, is the work of Carlo Dellifranci. On it the large panel of the Annunciation by Belisario Corenzio, with a wooden frame with floral motifs. On the walls and on the archivolt you can see a cycle of frescoes, with Stories of the Virgin also attributable to Giovanni Balducci: at the bottom left, the Birth of the Virgin and at the top the Visitation; on the right, the Presentation of Jesus in the temple and the Presentation of Mary in the temple. At the center of the vault there is the Assumption of the Virgin. On the left wall is an abraded marble coat of arms, accompanied by an inscription. On the opposite wall is placed, in the center of an inscription, the relief bust of Ascanio Auriemma, attributable to a master from the circle of Giulio Mencaglia. Chapel n. 4 In 1642 the chapel, formerly owned by the rector of the church Giuseppe Incarnato, was sold to Isabella d’Aquino. The patronage later passed to the Ferri family, as evidenced by the inscription on the tombstone in the center of the floor, bearing the noble coat of arms: a Samnite shield with a tree log having an anvil at the top on which two doves with a cape in their claws face eachother. On the 18th-century altar by Dellifranci, there is a 17th-century canvas, by an unknown maker, depicting San Nicola of Bari. The walls contain frescoes with the Stories of the Saint executed by Agostino Beltrano in 1641: on the left, the Contemplation of the urn with the remains of San Nicola, and a tondo with San Nicola healing a cripple; in the vault San Nicola in glory; on the right San Nicola distributing Communion, and the Institution of the Eucharist. Chapel n. 5 Formerly owned by the congregation of the Oratorio dei Banchi, in 1641 the chapel was donated to the church together with Filippo Vitale’s Guardian Angel, still present on the altar. Later the patronage passed to the Cavalcanti of the Corriere Maggiore Office and finally to the Marinetti family. The altar, in polychrome marble, is dated 1778. The floor is in terracotta and majolica tiles from the late 18th century, with an epigraph in the center. Chapel of the left transept In 1780 the project and the management of the works were entrusted to the engineers Nicola del Giacomo and Emanuele Ascione. The paintings that decorate the altar were painted by Giacinto Diano in 1781: starting from the left, the Adoration of the Magi, signed, the Adoration of the Shepherds and the Presentation of Jesus in the temple. Above, the central band and the two side canvases, also by Diano, represent the Massacre of the Innocents. Below, on the doors, two canvases depicting the prophets Jeremiah and Isaiah. To the left of the large window is the Dream of St. Joseph, to the right the Flight into Egypt. Under the arch there are two paintings: in the center the Eternal Father with a choir of angels, on the right a musician angel. Main altar The balustrade that precedes the altar is a documented work by Carlo Dellifranci. The main altar was built by Giovanni Atticciati between 1770 and 1773. In the apse is the large canvas by Giacinto Diano with the Pietà. Behind the altar we also find Juan Dò’s painting The Adoration of the Shepherds and in the apse the Resurrection of Christ by Paolo De Matteis. The large rectangular canvas, placed below the Pietà di Diano, represents the Invention of the Cross, painted by Giordano at the end of the 1780s. Chapel of the right transept To the right of the main altar stands the large chapel dedicated to Saint Anna, founded by the royal councilor Francesco Rocco in 1667. The marble display is the work of the Tuscan Dionisio Lazzari. In the center, on the altar, is the canvas with Saint Anna offering Mary to the Eternal by Andrea Vaccaro. On the sides two oil paintings by Giacomo Farelli: on the left the Birth of Saint Anna, dated 1671, and on the right the Death of Saint Anna. On the left side wall there is the sepulchral monument of Francesco Rocco, sculpted by Lorenzo Vaccaro in 1678. On the right you can read an inscription engraved on a marble scroll. The upper area of the chapel is occupied by paintings by Nicola Vaccaro depicting the Apparition of Saint Anna and other miraculous episodes. On the sides of the large window there are the paintings of the Neapolitan Giuseppe Mastroleo with, on the left, the Marriage of the Virgin, on the right, the San Gioacchino’s Passage. By the same master, on the side, on the left, the Expulsion of Anna from the temple, on the right the Annunciation. The under-arch houses two paintings from 1733, also by Mastroleo: a musician Angel on the left and the Assumption of the Virgin in the center. Faced on the side walls of the chapel are the coats of arms, in polychrome marble of the Rocco House: the coat of arms has three chess rooks shaped on the top. Chapel n. 6 The chapel was under the patronage of the D’Amore family. The altar, in white Carrara marble, dates back to the first half of the 20th century and carries an inscription, as well as the pyx. On the left wall the Calvary of Christ and on the right the Pietà, both paintings by Crescenzo Gamba, from San Giorgio dei Genovesi Church. On the altar a modern glass and aluminum catafalque containing a contemporary statue of Sanint Fara. Outside the chapel there is the marble baptismal font, dated 1615 on the plinth. The plate bears the name of the donor on the edge. Chapel n. 7 The chapel was given to Filippo Lantellieri in 1627. The altar was modified in the early 19th century. On the walls there are paintings by Andrea Vaccaro: the Flagellation, on the left, the Crowning with Thorns, on the right, here you can also admire two other paintings signed by Andrea Vaccaro: the Going to Calvary and Christ before Pilate. On the side walls there are two inscriptions. In this chapel was also placed the painting The Deposition by Luca Giordano. Chapel n. 8 On the altar of the chapel dominates the Trinitas Terrestris, by Battistello Caracciolo, commissioned in 1617, together with the frame, by the patrons Sebastiano and Santolo Manso. Two small canvases, almost certainly from the 17th century, are placed high up on the side walls. Below, on the left, an epigraph. On a pedestal, the papier-mâché statue  from the first half of the 19th century, depicting Saint Anthony of Padua. Chapel n. 9 The patron Leonardo Genoino, Marquis of Ortodonico in Principality of Citra, commissioned the table of the Rosary from Andrea Molinaro, still visible on the altar today. On the ceiling there is a fresco, retouched several times, depicting the Glory of San Domenico by Luca Giordano, also author of the side canvases with Saint Giacinto crossing the Boristene, on the left, and the Vision of Sanit Rose of Lima, on the right. In the center of the floor, the tombstone with the noble coat of arms: a quartered Samnite-shaped shield that alternates the two-headed eagle crowned with one arm, the so-called “destrocherio” holding six flowers; the entire heraldic composition culminates with the gated helmet crowned with five fleurons and towerd over by an imperial eagle; at the tip of the shield the cross of the order of Malta; below an inscription. Chapel n. 10 Reliable information about the chapel dates back to 1778. On the altar there is the canvas with the Virgin Mary between Saints Gennaro and Anthony of Padua by the Neapolitan Giovan Battista Rossi. On the walls, to the left, the Death of Saint Alessio from the 17th-century , by an unknown author, on the right a large canvas, from San Giorgio dei Genovesi Church, by the Cortonese Giovan Francesco Romanelli representing Blessed Bernardo Tolomei healing a possessed woman. In the chapel you can also see a dressed statue of the Immaculate Conception from 1864. On the floor there is a tombstone with an inscription. Anti-sacristy and parochial office In the anti-sacristy there is an 18th-century epigraph and a 20th-century papier-mâché crucifix. In the parochial office there is a painting of an anonymous canvas with the Education of the Virgin, perhaps from the early 20th century

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