entry below this box about the church
of San Giuseppe a Chiaia (image,
right) is by Neapolitan artist Selene
Salvi. She has a presence in Naples:
Life, Death & Miracles with
a page containing various
examples of her work. This
article appears in Italian on her
Facebook page as Chi ci ha
messo una croce sopra? (Roughly,
"Who put a cross up there?") This
English translation is mine. The two
photos in the body of the text are by
Marinis. There are additional
photos as well as a video on Selene's
Facebook page. There is an additional
item on the church here.
The church is located on via Riviera
di Chiaia, on the north side of the
Villa Comunale, the public gardens.
This photo was taken from there.
Have you ever been in the 17th-century church of San Giuseppe a Chiaia? You'll find works by Luca Giordano, Nicola Malinconico, Francesco Di Maria and something unique and precious hidden at the entrance on the right. There is a valuable painting (image, left ©) from 1868; the tenuous colors and delicate contrasts show the body of Santa Restituta being transported by angels from Ischia to Naples. The view of the painting, however, is blocked by a crucifix set up on an altar at the base of which there are two marble angels kneeling in prayer on marble cushions. To the right of the altar, in a small room, a splendid marble Angel of the Resurrection sits on a sarcophagus and points at the small dome above that bears a fresco of a flight of angels looking down from Heaven (image, below ©). There is a passage from the gospel of John inscribed on the sarcophagus: “transiit a morte in vitam” (...is passed from death to life). Beneath that we find the tomb of “Henry Edward Fox Lord Holland, born March 7, 1802 died December 18, 1859”. Who was that person? Beyond that, who are the creators of these precious works that adorn both altar and small chapel?
In order, then. Lord Holland was a baron and an English diplomat. He and his fascinating and cultured wife, Mary Augusta Coventry (1812-1887), resided at Palazzo Roccella (today the seat of PAN/Palazzo delle Arti Napoli). For a good 42 years those rooms were alive with the activities of the most renowned cultural salon in Naples, hosting famous artists, literati and political figures of liberal persuasion. In his memoirs, Edward Chepmell, lady Augusta's physician, wrote that the Hollands received each evening and that the salon was always packed with a mix of Neapolitans, Russians, Germans, French and English. It was all presided over by the lady of the house, who spoke those languages. Palazzo Roccella was a safe haven, as well, for meetings in which even the most ardent liberals could voice their opinions without fear of being broken in upon by the Bourbon police. The Hollands enjoyed the protection of the British ambassador to the kingdom, brother of the powerful foreign secretary, lord Palmerston. All eyes and hopes were on Naples.
Augusta loved the company of artists and was a close friend of symbolist painter, George Frederick Watts, who immortalized her in a number of works. When lord Holland passed away in 1859, his wife had the tomb and altar installed (1860-65). Two artists were called on to adorn the works: Biagio Molinari (or Molinaro) (Trani, 1825-Napoli, 1868) and Tommaso Solari (Napoli, 1820-1889). Molinari was a student of Morelli and apparently in 1854 in Rome became part of the circle of English artists that formed around artist and critic, John Ruskin (1819-1900). Molinari was also one of the founders of the Società Promotrice di Belle Arti (Society for the Promotion of the Fine Arts), an institution that brought great acclaim to the world of Neapolitan art. Solari, from a family of artists, was a sculptor with classical inclinations—with a “fine chisel”, as they say. Many of is works are set at prominent sites in the city. The funeral monument, itself, is marked by English taste, the two angels at the base of the altar are by the Neapolitan sculptor, while the frescoes on the small dome are by Molinari. We advise you to visit the church before noon on a bright day. The light that filters in from a small window behind the sepulcher lends a special atmosphere to the interior. The altar and chapel are mentioned in English-language guides from that period; thus, if you are a lover of Neapolitan art, this should be on your list.
So far, so good. But someone had the idea of putting up a cross directly in front of Molinari's beautiful painting, such that you get only a partial view of it, and that is irritating. Why?! It's high time to restore some dignity and respect to an artist who gave the city so much of himself during his lifetime. We need more beauty today; we don't need to cross it out. Literally!
And Lady Holland? In 1883 (24 years after the death of her husband) she left Naples forever, although she rented the Palazzo Roccella until 1887, perhaps thinking that she might return. She died on September 20, 1889 and was buried at St. Anne's Hill, forever distant from the sun of the city that she loved so much.