San Gregorio Armeno ('St. Gregory of Armenia') is a church and a monastery in Naples. It is one of the most important Baroque complexes in Naples.
In the 8th century, the iconoclast decrees in Greece caused a number of religious orders to flee the Byzantine empire and seek refuge elsewhere. San Gregorio Armeno in Naples was built in the 10th century over the remains of a Roman temple dedicated to Ceres, by a group of nuns escaping from the Byzantine Empire with the relics of St. Gregory, bishop of Armenia. During the Norman domination the monastery was united to that of the Salvatore and San Pantaleone, assuming the Benedictine rule.
The construction of the church was begun in 1574, using designs by Giovanni Battista Cavagni, and consecrated five years later. A later consecration dates to 1674, and refurbishment to 1762. The façade has three arcades surmounted by four pilaster strips in Tuscan order. The interior has a single nave with five side arcades: the decoration, with the exception of the five chapels, was finished by Luca Giordano in 1679. Bernardino Lama, likely the son of Giovanni Bernardo Lama, was author of the altarpiece. The interior houses also the famous Holy Staircase, used by the nuns during their penitences.
The cupola was painted with a Glory of San Gregorio by Luca Giordano. The ceiling cassettoni or framed canvases depict the Life of the St Gregorio Armeno and were commissioned by the abbess Beatrice Carafa from the Flemish Teodoro d'Errico. On the right, the altarpieces include an Annunciation of Mary by Pacecco De Rosa, a Virgin of the Rosary by Nicola Malinconico, and frescoes by Francesco Di Maria. On the left, is a St. Benedictaltarpiece by Spagnoletto. The main altar was designed by Dionisio Lazzari, and has an altarpiece depicting the Resurrection by Giovanni Bernardo Lama.
The Idria Chapel houses eighteen paintings by Paolo De Matteis, portraying the Life of Mary. Over the chapel's high altar is a medieval icon, in Byzantine style, of the Madonna dell'Idria.
The main attraction is the cloister (1580). In the centre is a marble fountain, decorated with dolphins and other marine creatures, with the statues of 'Christ and the Samaritana', by Matteo Bottiglieri.References:
The Mosque–Cathedral of Córdoba, also known as the Great Mosque of Córdoba and the Mezquita is regarded as one of the most accomplished monuments of Moorish architecture.
According to a traditional account, a small Visigoth church, the Catholic Basilica of Saint Vincent of Lérins, originally stood on the site. In 784 Abd al-Rahman I ordered construction of the Great Mosque, which was considerably expanded by later Muslim rulers. The mosque underwent numerous subsequent changes: Abd al-Rahman II ordered a new minaret, while in 961 Al-Hakam II enlarged the building and enriched the Mihrab. The last of such reforms was carried out by Almanzor in 987. It was connected to the Caliph"s palace by a raised walkway, mosques within the palaces being the tradition for previous Islamic rulers – as well as Christian Kings who built their palaces adjacent to churches. The Mezquita reached its current dimensions in 987 with the completion of the outer naves and courtyard.
In 1236, Córdoba was conquered by King Ferdinand III of Castile, and the centre of the mosque was converted into a Catholic cathedral. Alfonso X oversaw the construction of the Villaviciosa Chapel and the Royal Chapel within the mosque. The kings who followed added further Christian features, such as King Henry II rebuilding the chapel in the 14th century. The minaret of the mosque was also converted to the bell tower of the cathedral. It was adorned with Santiago de Compostela"s captured cathedral bells. Following a windstorm in 1589, the former minaret was further reinforced by encasing it within a new structure.
The most significant alteration was the building of a Renaissance cathedral nave in the middle of the expansive structure. The insertion was constructed by permission of Charles V, king of Castile and Aragon. Artisans and architects continued to add to the existing structure until the late 18th century.
The building"s floor plan is seen to be parallel to some of the earliest mosques built from the very beginning of Islam. It had a rectangular prayer hall with aisles arranged perpendicular to the qibla, the direction towards which Muslims pray. The prayer hall was large and flat, with timber ceilings held up by arches of horseshoe-like appearance.
In planning the mosque, the architects incorporated a number of Roman columns with choice capitals. Some of the columns were already in the Gothic structure; others were sent from various regions of Iberia as presents from the governors of provinces. Ivory, jasper, porphyry, gold, silver, copper, and brass were used in the decorations. Marvellous mosaics and azulejos were designed. Later, the immense temple embodied all the styles of Morisco architecture into one composition.
The building is most notable for its arcaded hypostyle hall, with 856 columns of jasper, onyx, marble, granite and porphyry. These were made from pieces of the Roman temple that had occupied the site previously, as well as other Roman buildings, such as the Mérida amphitheatre. The double arches were an innovation, permitting higher ceilings than would otherwise be possible with relatively low columns. The double arches consist of a lower horseshoe arch and an upper semi-circular arch.