The Catacombs of Saint Gaudiosus are underground paleo-Christian burial sites (4th-5th century BC), located in the northern area of the city of Naples (now Stella district). The catacombs were probably occupied on a pre-existing Greek-Roman necropolis in the district known nowadays as Rione Sanità, that was uninhabited at that time. According to tradition, it was the burial site of St. Gaudiosus, a bishop arrived in Naples from North Africa, due to a shipwreck.
His burial took place between 451 and 453 and the place, although was already the tomb of another bishop, St. Nostriano, became an object of veneration and since then known by St. Gaudosio name.
The urbanization of Rione Sanità began only around the sixteenth century and, with it, also the catacombs returned to their original burial function. During the seventeenth century, with the construction of the basilica of Santa Maria della Sanità just above the ancient church or chapel of St. Gaudioso, the underground cemetery was 'modernized' with profound changes in its original structure until the destruction of some of its parts.
After the outbreak of 1656, the vast limestone caves in the valley became a huge open-air graveyard and here, at the time of Joachim Murat, numerous bones from the 'mummification rooms' were moved as well as victims of other epidemics such as cholera of 1836.
Nowadays, only a small portion of what were the original catacombs.
Access to the catacombs is in the crypt, under the raised presbytery of the church dedicated to Our Lady of Health. This subject is represented in a fresco pheraphs detached by a wall of the old church, due to a mud slide.
Our Lady of Health (5th – 6th century), probably the most ancient Marian representation of Naples, is now kept in the first right side chapel of the basilica. Many inhabitants of the neighborhood, however, believe that the church is dedicated to St. Vincent Ferrer, because of the popular devotion to this holy Dominican and of the beautiful wooden statue of him, placed at the left of the altar.
The crypt, once a long corridor catacomb, clearly contains on the vault and on the walls, visible frescoes by Bernardino Fera representing stories of martyrs. The arcosolium, placed at the entrance, guards the Tomb of San Gaudioso, with a sixth-century mosaic decoration.
In the various cubicles that open along the arms of the catacombs, were located 5th – 6th century frescoes (St. Peter's, among others, and San Sossio, deacon of Pozzuoli) and a mosaic dating before the late 5th century. The tufa sculpture of the dead Christ to the left of the entrance dates back at the end of the 7th century. The 7th century was for the catacombs a new period of use, especially by the Dominican friars. In this era it was, in fact, still widespread the use of the drainer: stone cavities in which corps were leaned into a fetal position, to make him lose the fluids.
The Dominican friars thought that the head was the most important part of the body as the seat of thoughts; that’s way, after drying, the heads were preserved, while the rest of the body was amassed in the charnel house.
During this period was also exercised a macabre practice to take the heads of the now dried corpses and lock them in the walls and painting below a body that would give some indication of the profession of the deceased. This type of burial was reserved for the wealthy classes and was later abandoned due to hygienic reasons.
Of the German’s body, embedded in the walls, only the skulls survived, due to the fact that the surface had been deteriorated by the humidity. Most of that skullcaps are smaller than modern men ones, maybe because of the different nutrition and the healthier way of life.
The Neapolitan actor Antonio De Curtis, known as Totò, was a native of the Rione Sanità and he was used to frequent its catacombs, where there is a fresco representing death winning over Everything.References:
Les Invalides is a complex of buildings containing museums and monuments, all relating to the military history of France, as well as a hospital and a retirement home for war veterans, the building"s original purpose. The buildings house the Musée de l"Armée, the military museum of the Army of France, the Musée des Plans-Reliefs, and the Musée d"Histoire Contemporaine, as well as the burial site for some of France"s war heroes, notably Napoleon Bonaparte.
Louis XIV initiated the project in 1670, as a home and hospital for aged and unwell soldiers: the name is a shortened form of hôpital des invalides. The architect of Les Invalides was Libéral Bruant. The enlarged project was completed in 1676, the river front measured 196 metres and the complex had fifteen courtyards. Jules Hardouin Mansart assisted the aged Bruant, and the chapel was finished in 1679 to Bruant"s designs after the elder architect"s death.
Shortly after the veterans" chapel was completed, Louis XIV commissioned Mansart to construct a separate private royal chapel referred to as the Église du Dôme from its most striking feature. Inspired by St. Peter"s Basilica in Rome, the original for all Baroque domes, it is one of the triumphs of French Baroque architecture. The domed chapel is centrally placed to dominate the court of honour. It was finished in 1708.
Because of its location and significance, the Invalides served as the scene for several key events in French history. On 14 July 1789 it was stormed by Parisian rioters who seized the cannons and muskets stored in its cellars to use against the Bastille later the same day. Napoleon was entombed under the dome of the Invalides with great ceremony in 1840. In December 1894 the degradation of Captain Alfred Dreyfus was held before the main building, while his subsequent rehabilitation ceremony took place in a courtyard of the complex in 1906.
The building retained its primary function of a retirement home and hospital for military veterans until the early twentieth century. In 1872 the musée d"artillerie (Artillery Museum) was located within the building to be joined by the Historical Museum of the Armies in 1896. The two institutions were merged to form the present musée de l"armée in 1905. At the same time the veterans in residence were dispersed to smaller centres outside Paris. The reason was that the adoption of a mainly conscript army, after 1872, meant a substantial reduction in the numbers of veterans having the twenty or more years of military service formerly required to enter the Hôpital des Invalides. The building accordingly became too large for its original purpose. The modern complex does however still include the facilities detailed below for about a hundred elderly or incapacitated former soldiers.