CHIESA DEL SOCCORSO
CHIESA DEL SOCCORSO
Constructed: Ancient origins but restructured in the 18th and 19th centuries with ongoing restoration
Style: The architectural style could be described as Moorish/Byzantine.
Location: Piazza del Soccorso, Forio
The Chiesa del Soccorso hardly needs any introduction, perched high on its promontory at Forio, with the sea below and mountains behind, the location couldn’t be more atmospheric or beautiful. This startlingly white church, standing like a beacon, has been featured on postage stamps, painted by artists and photographed by many. Given its prominent location, it would have been the first sight of home, for many a weary sailor in past centuries.
Its fame is derived not only from its position, but also from its unusual architecture – the fusion of many styles. Its history dates back to its foundation in 1350, as an Augustinian Monastery - which was suppressed 100 years later. The only remnants of this early structure can be seen in the stone work revealed in the apse. The dome, supported on pendentives, was destroyed in an earthquake in 1883 and rebuilt later, to a more modest scale.
The approach to the church is via a double staircase which stretches out its arms in welcome, creating an arc which is decorated with ceramic tiles which probably date from the 19th century. The curve of the façade coincides with the shape of the nave vault. Above the beautiful 17th c stone doorway, a central oculus gives centrality to this asymmetrical façade, with its little volutes and bell tower on the north side.
The simple barrel vaulted nave of three bays is articulated by round headed arches, with 3 shallow chapels. The crossing is rib vaulted with some original stone work visible. Perched above the cornice which runs round the interior, are votive models of sailing ships, given by grateful survivors of shipwrecks.
The ornate Chapel of the Crucifix was added towards the end of the 18th century. It is separated from the nave by a low marble wall and a wrought iron gate. In a niche behind the polychrome marble altar is a much venerated 16th c crucifix, said to have been the only item to survive an early shipwreck and found washed up on the beach below. It is a work of very great beauty and expressive power. On either side are two stone roundels depicting St John the Baptist and St Stephen, which might date from the original church.
Above the main altar is the 18th c wood and polychrome figure of the Madonna del Soccorso. The fabulous ceramic tiles depicting flowers and stars on the floor near the altar, give an idea of how the floor must once have looked throughout the church, creating an amazing effect of colour and design, like an immense carpet.
In the second chapel on the South Side is a painting, in poor condition, of S. Augustine, S. Monica (mother of S. Augustine) & S. Nicolas of Tolentino – (oil on panel) – signed and dated in the lower left corner by Cesare Calise and dated in Roman Numerals – 1663. The Trinity is represented above in the zone of heaven – Christ, with his flag billowing out behind him, like the sail of ship and on the right, God the Father, they lightly touch an orb representing the world, while the Holy Spirit hovers above the head of S. Augustine with his Bishop’s mitre and book. He looks heavenward for inspiration, while S. Nicolas, the savior of mariners in distress, clothed in the robes of the Augustinian Order, holds a lily and looks towards the viewer.
Although this painting is in poor condition with the panels lifting and paint peeling off, it is still possible to see some of its former splendor in the rich gold, brocade, robe of S. Augustine, decorated with the pineapple motif, much favoured in the 16th c.
Style: The architectural style could be described as Moorish/Byzantine.
Location: Piazza del Soccorso, Forio
The Chiesa del Soccorso hardly needs any introduction, perched high on its promontory at Forio, with the sea below and mountains behind, the location couldn’t be more atmospheric or beautiful. This startlingly white church, standing like a beacon, has been featured on postage stamps, painted by artists and photographed by many. Given its prominent location, it would have been the first sight of home, for many a weary sailor in past centuries.
Its fame is derived not only from its position, but also from its unusual architecture – the fusion of many styles. Its history dates back to its foundation in 1350, as an Augustinian Monastery - which was suppressed 100 years later. The only remnants of this early structure can be seen in the stone work revealed in the apse. The dome, supported on pendentives, was destroyed in an earthquake in 1883 and rebuilt later, to a more modest scale.
The approach to the church is via a double staircase which stretches out its arms in welcome, creating an arc which is decorated with ceramic tiles which probably date from the 19th century. The curve of the façade coincides with the shape of the nave vault. Above the beautiful 17th c stone doorway, a central oculus gives centrality to this asymmetrical façade, with its little volutes and bell tower on the north side.
The simple barrel vaulted nave of three bays is articulated by round headed arches, with 3 shallow chapels. The crossing is rib vaulted with some original stone work visible. Perched above the cornice which runs round the interior, are votive models of sailing ships, given by grateful survivors of shipwrecks.
The ornate Chapel of the Crucifix was added towards the end of the 18th century. It is separated from the nave by a low marble wall and a wrought iron gate. In a niche behind the polychrome marble altar is a much venerated 16th c crucifix, said to have been the only item to survive an early shipwreck and found washed up on the beach below. It is a work of very great beauty and expressive power. On either side are two stone roundels depicting St John the Baptist and St Stephen, which might date from the original church.
Above the main altar is the 18th c wood and polychrome figure of the Madonna del Soccorso. The fabulous ceramic tiles depicting flowers and stars on the floor near the altar, give an idea of how the floor must once have looked throughout the church, creating an amazing effect of colour and design, like an immense carpet.
In the second chapel on the South Side is a painting, in poor condition, of S. Augustine, S. Monica (mother of S. Augustine) & S. Nicolas of Tolentino – (oil on panel) – signed and dated in the lower left corner by Cesare Calise and dated in Roman Numerals – 1663. The Trinity is represented above in the zone of heaven – Christ, with his flag billowing out behind him, like the sail of ship and on the right, God the Father, they lightly touch an orb representing the world, while the Holy Spirit hovers above the head of S. Augustine with his Bishop’s mitre and book. He looks heavenward for inspiration, while S. Nicolas, the savior of mariners in distress, clothed in the robes of the Augustinian Order, holds a lily and looks towards the viewer.
Although this painting is in poor condition with the panels lifting and paint peeling off, it is still possible to see some of its former splendor in the rich gold, brocade, robe of S. Augustine, decorated with the pineapple motif, much favoured in the 16th c.
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