Tag: Quartiere Sanità

A New Kind of Sospeso

Posted on by alice

In this covid19 era there is a new kind of giving added to the roster: paying for a stranger’s Covid test.
This initiative is supported by ‘SaDiSa, Diritti alla Salute’, ‘Fondazione Comunità di San Gennaro Onlus‘ and the Presidency of the 3rd Municipality of Napoli.

Though not a surprise that this Neapolitan world of subtle and anonymous generosity now includes a Covid test sospeso, the fact that it is happening in none other than the church of San Severo fuori le mura makes it even more unique.


Church of San Severo fuori le mura

This church is where the sculptor and resident Jago, has exhibited his haunting masterpiece called “Figlio Velato”.
Jago is just one of the superstars in via Vergini. Another hero of the neighborhood is Father Antonio Loffredo who collaborates with Ernesto and Giuseppe Albanese, founders of L’Altranapoli.


Giuseppe Albanese with architect and designer Riccardo Dalisi in one of the “houses” opened in the Sanità neighborhood

They’ve been integral in bringing significant alternatives for the children in the area with, among other things, the creation of the orchestra Sanitansamble, a football pitch on the roof of a church, a gym, a recording studio designed by architect Giuseppe Albanese on top of the graveyard of the church of San Severo fuori le mura.


The recording studio designed by architect Giuseppe Albanese

“This recording studio offers music and joy also to the people buried there” Father Antonio said, and now L’Altranapoli will be expanding its work to the Forcella neighborhood.

As the public health care is saturated with testing needs, many must turn to the private sector. However, the costs for many, especially in this economic climate, are quite prohibitive. This grass-roots group is one of the non-profits behind the idea of the “suspended” swab test which is putting Naples on the map, once again, for its generosity and altruistic spirit.

Alice: Fiorella, speaking of generosity, I’ve got to tell you about one of my first memories of Neapolitan hospitality. I was in Naples for a month researching for my thesis in a time before the debit card so my American ATM only worked at only certain banks. The machine wasn’t working at the branch at the intersection with Montesanto and the teller literally walked me to the next branch on Via Toledo, along the way offering me a coffee at a small bar along the way.
We got our coffee in the bustling café and then went up to the till to pay. The man quickly and effortlessly put his hand to stop me and paid the bill – around 1,000 lire – was paid. I was flustered and kept saying “grazie, grazie…ma perche’?”
Why would a stranger pay for my coffee? He explained that it was just what was done in Naples, especially for a “guest” and that it was “just a coffee”. This impressive instance of Neapolitan generosity is just one of many.
I later learned to be a gracious in offering as I was accepting coffee and also about the culture of “caffe (or pizza) sospeso”, just one of the examples of how Neapolitans have a way of taking care of each other. This concept of “sospeso” can be applied in “gifting” anything for a person you don’t know who might be in need. A friend of mine told me that at her salumeria people paid it forward for those who needed a sandwich. With dignity and no questions asked. This is the spirit of Naples.

Fiorella: Totally fabulous. Yes, we’ve mentioned this idea about the caffè sospeso. Apparently it began in the post-war 1950s with coffee and has been a tradition of “paying it forward” in Naples ever since. In recent years, we’ve seen many more bars and pizzerias place signs or posters for people to leave change for the “suspended” coffees or pizzas. Visitors and locals happily participated and this tradition had not changed, even in the pandemic. In fact, this idea of paying for a stranger has now taken on a new form.
In the darkest times of the first lockdown, Naples made the news with how people were leaving food for others hard-hit by the economy, often in the famous panaro (the basket lowered down from the balcony); both the gesture and the basket emblematic of the inventiveness of the city we love so much.


Church of Immacolata and San Vincenzo, now a Theatre in Sanità. Sculptures by Riccardo Dalisi


Giuseppe Albanese and Luigi Malcagni manager of Save the children Campania in the Cristallini House celebrating the installation Flag Down by Mariangela Levita

The Fabulous Prince of Laughter

Posted on by alice

In this time of great challenges due to the outbreak of coronavirus disease, we of Naples Fabulous wanted to share a post about an extraordinary person who will hopefully bring some lightness to your days. We’ve been trying to keep our spirits high through reading, music, films and art about Naples and we thought: who better to represent Neapolitan resilience and spirit than this Neapolitan character?

Totò is one of the most beloved figures of the Neapolitan history, art and folklore. But though he has worked with some of the most iconic actors in the history of cinema like Anna Magnani, Vittorio de Sica, Sophia Loren, Mastroianni and movie directors such as Monicelli and Pasolini, many people outside of Italy do not know the work of one of the greatest Neapolitan figures of all time. However, to Italians, he is considered to be one of the most extraordinary comic geniuses of all time.


Totò and Anna Magnani

He went by Totò or simply Antonio de Curtis but actually has an incredibly long name. Starting out as Antonio Clemente, he was born in the heart of Naples – his beloved Sanità – in 1881 to Anna Clemente and the nobleman Giuseppe de Curtis, who never recognized him. He always knew of his noble blood but it wasn’t until he was 35 that he was formally adopted by the Marquis Francesco Maria Gagliardi Focas di Tertiveri. Therefore he inherited a long list of names and a noble title, from which comes the nickname “the prince of laughter”.

Walking the streets of Naples you’ll see icons of his image everywhere, not just in the Sanità. To Neapolitans, Totò represents honour and talent, pride and purpose; he was a champion for the poor and is a symbol of hope. His spirit is woven into the collective conscious of this city and that crooked nose and pointy chin, broken a youth, are as ubiquitous as the landscape of the Vesuvius or the image of the Pizza Margherita or the outline of Capri in the Gulf of Naples. Most bars have a photo or ceramic figure that might be placed alongside an image of the Madonna or Maradona.


Totò by Salvatore Scuotto 2017 – donated by Rober Lèon

To many he is considered to have achieved a uniqueness in comic-tragic style like that of Charlie Chaplin, Buster Keaton or Stan Laurel. Comparisons have even been made with his physicality and the movement technique of Michael Jackson. He grew up poor with an unparalleled work ethic that would accompany him during his entire life. Long after he achieved fame and celebrity, living the bella vita in Rome, he never lost connection with his roots in Naples and was always committed to helping the poor not only in his beloved hometown but everywhere.
His characters in the over 100 films he performed in were often poor, clever people who would, through his iconic, often improvised puns philosophise on the current state of the world and the human condition. This way of living humour through tragedy is emblematic of the Neapolitan spirit and what makes his prolific career symbolic of the triumph of a man who started his life in utter poverty.
His work, rooted in the Commedia dell’Arte tradition, started in Naples at age 15 and would then take him to the stages of Rome where he’d marry his first wife Diana Bandini Rogliani. A few years prior to making his film debut, he’d have a daughter, Liliana whose name would be a source of speculation. Totò had had an affair with the actor Liliana Castagnola whose haunting suicide would remain a mystery for the duration of his life. Though his marriage was dissolved in 1940, Diana and Totò would remain connected until she met another man and Totò married the much younger Franca Faldini.

He’s considered a genius for his comic abilities but his career and art expanded to song writing, music and poetry which had a depth recognised by many and celebrated today. Toto’s most famous song is Malafemmena (Wayward Woman), dedicated to his ex wife Diana.
Often when walking the streets of Naples you’ll hear a trace of one of his songs or, even better, musicians or posteggiatori will serenade diners at the local trattorias which will almost always lead to a sing-a-long of his famous melody.
Here is one of his poems, also engraved in an inscription outside the historic Caffé Gambrinus:

‘A cunzegna

The exchange
In the evening when the sun goes back home
And changes shifts with the moon for the night,
The sun whispers in the moon’s ear
“I’m going home:
Take care of all the lovers!”

Totò is a link between two generations of Italy. People of all ages (and social strata) fluidly repeated his jokes, his gestures and entire phrases from his film by heart because his genius has just as much relevancy in today’s world.
Fifty years later Totò’s films still make people laugh, demonstrating the modernity of his humour and some of his characters. He grew up in the densely populated neighbourhood Sanità which was a source for much of his material. As a child he observed his neighbours and the most extravagant people who he would later incorporate into comical characters in his performances. This earned him the nickname of “ ’o spione ” (the spy).
In Sanità you can see representations of Totò on every wall and there are two large light installations dedicated to him, one of his outline and the other with an inscription in Neapolitan of his delicate love poem “Core analfabeta” (Illiterate heart). They both welcome those entering into Totò’s native neighbourhood.

Baroque churches, noble buildings, a bustling market with perfume of delicious food and the voices of the authentic Naples captivate and lead us to the discovery of the many faces of the prince of laughter.
Federico Fellini said “His capacity of making us laugh should make him a saint” and in actuality, our fabulous Naples has sanctified him!


Palazzo dello Spagnuolo

The tarallificio Poppella (taralli are typical Neapolitan savory snacks) celebrates Totò with a mosaic at the entrance to the shop as does the wine bar Sciò with a mural. All of the shops in the area have a photo of him and his cherished films.


taralli napoletani

The first “Vicolo della cultura” (cultural alley) in Italy, inaugurated in the Sanità in December 2019 honours him with a wall-painting amongst books free for whoever might want them. The non-profit organisation Opportunity seeks to challenge criminality with culture, colours, light and art. The portrait of Totò is found at the entrance of the itinerant library along with other celebrated Neapolitans such as Sophia Loren, Peppino De Filippo, Massimo Troisi and Pino Daniele.


Via Montesilvano

Yet it is at the Pizzeria e Trattoria Taverna di Totò where we would like to conclude our little homage to this artistic genius.
With happiness and a scrumptious pizza, a delicious potato crocchè and maybe a tasting of a fabulous side dishes of eggplant and friarielli, we will raise a glass to Totò’s wonderful legacy in the company of the kind server, always ready to entertain customers with a genuine smile, in the spirit of the immortal prince of laughter.


pizza Cosacca

Fabulous Festival in the Sanita’

Posted on by alice

We’ve written about the Sanità before because it is near and dear to our hearts. It’s a thriving market in the middle of street art and historical landmarks. It’s a place where people call you by name and it has an uncontaminated charm full of artists wanting to be off the radar, families, tourists and students. Naples is a very unique city in many respects as it is a city which welcomes people in the same way that a small town might do so. The Vergini, an area of the Sanità right off of Piazza Cavour is seems like a town within a city and since 2016 they’ve been hosting bi-annual street parties which the whole city (and tourists) love to go to. Although many neighborhoods in Naples have their own form of festivals, often connected to food, the parties at the Vergini is something a bit out of the ordinary. It feels like a sort of Homecoming party/Carnival where the normal shops host budding DJs, stages are set up where normally market stalls would be to host actors, dancers and singers

 

and food shops cook fresh fish and fried pizza outside of their doors for all the passersby. You might find yourself in the middle of a spontaneous street karaoke session or a dance party in front of a church or a wine bar.

 

On your way to the party, you cannot miss the famous Porta San Gennaro. Look up to the arch whose fresco by Mattia Preti represents the Immaculate Conception holding the baby and surrounded by angels. At the sides of the Madonna we see a kneeling St. Francis Xavier and St. Gennaro offering her his blood, a haggard woman on the steps in the lower section of the fresco symbolizes the plague and the two marble statues represent St. Gennaro and Michael. The artist  was charged with painting tributes to the Madonna on all the city gates after the plague epidemic in 1656 and this is the only fresco that has survived.

On the other side of the gate is a bust of St Gaetano and under the arch we see a shrine showing the Virgin, located here since 1887 to remind us of salvation from another epidemic (Asiatic disease) that shook Naples in 1884.

Originally located in proximity of via Settembrini, at the beginning of the 16th c, under the Vice-Kingdom of Don Pedro de Toledo, the city walls were enlarged and the gate was moved to is present location. The name remained the same as the gate gave access to both the catacombs of San Gennaro and the church of San Gennaro extra moenia (outside the city walls).

Porta San Gennaro and the permanent light installation dedicated to Totò the famous actor who was born in the Sanità district

Take in the art of this historic part of the city wall before getting your fill of food and music in The Vergini at today’s much-anticipated event of The Sanità Ta Ta featuring many artists such as Galera De Rua, Tartaglia Aneuro and Tommaso Primo.

If it’s late enough when  you finish celebrating, you can return to right below Porta San Gennaro to check out the all night stands along Via Foria who are open for the Epiphany tradition of candy-filled stockings that the children will find in the morning.

 

Three fabulous doorways

Posted on by alice

Fiorella: Sometimes I walk in the same streets where I have been so many times and I still appreciate the fabulous details. All the staircases, balconies, walls or portals that you can only find here. Other times I am horrified by illegal remodels or additions.

Alice: Any street that you walk on holds so many surprises. I really love the Neapolitan portals. When I came here many years ago I would get lost looking at the details of seemingly hidden places that had so many stories to tell. There are innumerable incredible doorways in Naples that it is very hard to choose which ones I love most. Let’s try to pick two or three of them.

In a shabby but charming corner of our fabulous Naples Antonio Penne, the secretary of King Ladislao di Durazzo built his palazzo in 1406. Some ashlars of the façade are sculpted with the French lily, symbol of the Royal family, some others show feathers. Penna in Italian means plume, feather so the symbol refers to the name of the family and the role of Antonio Penna as the King’s Secretary. The façade is a mix of central Italian and Catalan style with its depressed arch.

Among the centuries the building was owned by different noblemen, an ecclesiastic order and a volcanologist. More recently it has been purchased by the Regione Campania.

 

What make this building (who desperetly needs restoration) fabulous is the sober, geometric façade. It shows some unexpected symbols and the inscription above the portal carved in what looks like a marble ribbon is especially of note. It is an epigramm by the poet Marziale «QUI DUCIS VULTUS NEC ASPICIS ISTA LIBENTER OMNIBUS INVIDEAS IN-VIDE NEMO TIBI» You who grimace, you poisonous who does not read gladly these verses. May you be jealous of everyone and may no one be of you.  Antonio Penna uses Marziale’s verse to tell passers-by that he knows his beautiful home can generate envy, but envious people are stupid fools to be ignored…

For an unknown reason some unique Neapolitans put ceramic tiles with a similar meaning outside their bassi (street level homes) or shops and, in addition, a horn of good luck. However, facade of their buildings are not so classy though the sentiment still prevails that others can still envy their status. Not so fabulous, but…

Alice: Speaking of fabulous, I would definetly mention the doorway of Palazzo Zevallos.

Fiorella: I am with you darling… In via Toledo at n.185 stands the impressive façade of the 17th c. Palazzo Zevallos Stigliano, commissioned by the Spanish merchant Giovanni Zevallos to Bartolomeo Picchiatti.

Alice: His son Francesco Antonio was an archaeologist, antiquarian and architect and had renovated the church of the Pio Monte della Misericordia. They had good genes!

Fiorella: This is a Palazzo where I always go to admire the very interesting collection of paintings and sculptures, with some emblematic 19th c. examples and of course the indisputed star of the museum, the Martyrdom of Saint Ursula which is known to be the last work by Caravaggio. The palazzo itself is a work of art, but let’s focus only to the portal that impresses all the passers-by.

Zevallos commissioned the building and when he died from the horrendus plague in 1656 his heirs sold it to his financier agent Jan Vandeneynden. Vandeneynden was a merchant and an art dealer. He was close to Flemish artists and restless collectors such as Gaspare Roomer. Thus Palazzo Zevallos housed amazing artworks for two generations of the Vandeneynden family. One of Jan V.’s granddaughters married a Colonna prince of Stigliano thus continuing the amazing role of the residence as a house museum under the Colonna di Stigliano.

The fabulous doorway shows the coat of arms of the Colonna di Stigliano family which had displayed in the residence works by Luca Giordano, Titian, Anton Van Dyck, Poussin and many others and hosted musicians such as Farinelli, Scarlatti and Pergolesi. In the 1830ies one of the Colonna sold the 1st floor to the banker Carlo Forquet who redecorated it with the stuccoes and frescoes that we can still appreciate. By the 1920ies the Banca Commerciale had bought the whole building and run a quite theatrical Art Nouveau renovation of the courtyards and the internal loggias. In 2007 the Palazzo became a museum housing a permanent art collection well displayed in this fabulous architectural framework.

The majestic portal opens these wonders and memories to visitors. It is impressive with its geometric and at the same time eccentric pillars in marble and piperno. They are decorated with diamond-shaped elements and end with two vases. A rich garland and curls in white marble support the crowned coat of arms.

 

There are many other portals which deserve to be mentioned, but in talking about geometry, ashlars and diamond-shaped elements we cannot forget a walk we did in the side streets of Quartiere Sanità. Here we noticed many bizarre balconies and doorways.

One of them-not the craziest-perhaps has the ambition of recalling the façade of Gesù church or the pillars on the sides of Palazzo Zevallos’ portal. Who knows…these are only some of the mysteries of our fabulous city

                            
pillar of Palazzo Zevallos’ portal 
detail of the façade of the Church of Gesù.
Picture by Raffaele Lello Mastroianni