Cosimo Fanzago

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The Spire of San Gennaro in Naples, by Cosimo Fanzago.

Cosimo Fanzago (1591 - 1678) was an Italian architect and sculptor, generally considered the greatest such artist of the Baroque period in Naples, Italy.

[edit] Biography

Fanzago was born in Clusone (current Province of Bergamo) in a family of bronze-casters and architects. In 1608, after a short stay in Chieti, he moved to Naples. Here (according to what he wrote in 1612) he trained as a marble sculptor and mason under the Tuscan sculptor Angelo Landi. His first important work was the sepulchre of Mario Carafa, a relative of Cardinal Carafa.

According to an essay about Fanzago's life by count Fogaccia, in Naples he obtained the support of the Benedictines, the Duke of Medina, Prince Caracciolo and the Carthusians, and soon opened a workshop of his own.

Apparently involved in Masaniello's revolt, Fanzago was sentenced to death and had to flee to Rome where he worked for decade. He returned to Naples and designed the church of Santa Maria Egiziaca a Pizzofalcone and Santa Teresa a Chiaia. His last great church was Santa Maria Maggiore, built between 1653 and 1675.

One of his pupils was Lorenzo Vaccaro.

[edit] Main works in Naples

His works in Naples include:

the Guglia di San Gennaro, a votive spire in honor of the patron saint of Naples. It was in imitation of the large portable structures common in religious processions and was the model for two other prominent spires, which he helped plan (at Piazza del Gesù Nuovo and Piazza S. Domenico Maggiore). It was a so-called "plague column"; that is, a spire built in thanks for having been spared from the recent epidemic;

extensive work on the Certosa di San Martino, including the spectacular central courtyard with its large portals and busts of Carthusian saints.

the facades or facade details of numerous churches, chapels, and civic buildings, including Santa Maria degli Angeli (near the Botanical Gardens), anonymous works within the Cathedral of Naples, the church of Ascensione a Chiaia; the bronze gate of the chapel of the royal treasury; and the original design for church of San Francesco Saverio (now San Ferdinando, across the square from the Royal Palace);

altars within churches, such as in Santa Maria la Nova, Saints Severino and Sossio, Santa Maria di Costantinopoli, and the church of San Pietro a Maiella (the site of the music conservatory);