Church of Sant'Eligio Maggiore

The Church of Sant’Eligio Maggiore, located in the bustling heart of Naples, is a remarkable example of French Gothic architecture introduced by the Angevins in the city of Naples. Built in 1270 by the will of Charles I of Anjou, it represents the first church built by the Angevin dynasty in Naples and a symbol of their influence on the city. The building is located near Piazza Mercato, a historically significant area that has seen crucial events such as the decapitation of Conradin of Swabia and the events of Masaniello. The polygonal apse of the church faces east, while the main entrance, adorned with a strombated portal with sculpted zoomorphic and phytomorphic elements, is located on the right side. This portal is a rare example of French Gothic in Naples, highlighting the influence of transalpine craftsmanship. Inside, the church has a plan with three naves and side chapels, with a fourth nave added in the sixteenth century that originally belonged to the adjacent hospital. The side naves and the apse are covered by ribbed vaults, while the central nave and transept have wooden truss roofs, restored during the nineteenth-century renovations. The history of the church is rich in vicissitudes. During World War II, Sant’Eligio suffered serious damage due to bombings, which led to the loss of much of the Baroque stuccoes and marbles, revealing the medieval tuff structure. After the war, the church was restored, trying to recover its original appearance, although some modifications altered the ancient charm of the building. One of the most fascinating elements of the church is the arch of Sant’Eligio, which connects the church to the bell tower and features a clock on the first floor. This clock, hit by the explosion of the ship Caterina Costa in 1943, has a single hand and two heads sculpted under its frame. According to legend, these heads depict Irene Malerbi and Duke Antonello Caracciolo, protagonists of a tragic love and revenge story also narrated by Benedetto Croce. Among the works of art preserved in the church, a painting by Massimo Stanzione depicting the saints Eligio, Dionysius, and Martin stands out, as well as the “Last Judgment” by the Flemish painter Cornelio Smet, which some believe was retouched by Michelangelo. In the chapel of San Mauro, there is a copy of a painting by Francesco Solimena depicting Saint Eligio in adoration. Additionally, there is a wooden Madonna from the fifteenth century and the tomb of the writer Pietro Summonte, who died in 1526. Also interesting is the Sala Sant’Eligio, decorated with frescoes and paintings depicting the stories of Torquato Tasso’s “Jerusalem Delivered.” This room, once used for popular festivities by the sovereigns, testifies to the cultural and social importance of the church over the centuries. The church is dedicated to Sant’Eligio, known as the patron saint of goldsmiths and veterinarians. Before becoming a bishop, Eligio was a blacksmith and court goldsmith, and legend has it that, to shoe a restless horse, he detached a leg to then reattach it after shoeing it. This miraculous episode contributed to the invocation of Sant’Eligio for the healing of sick horses, creating a tradition that saw the horseshoes cured hung on the church door as a symbol of the saint’s miraculous properties.