Sant'Anna dei Lombardi
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Sant'Anna dei Lombardi
Long favored by the Aragonese kings, this church, simple and rather anonymous from the outside, houses some of the most important ensembles of Renaissance sculpture in southern Italy. Begun with the adjacent convent of the Olivetani and its four cloisters in 1411, it was given a Baroque makeover in the mid-17th century by Gennaro Sacco. This, however, is no longer so visible because the bombs of 1943 led to a restoration favoring the original quattrocento (15th-century) lines. The wonderful coffered wooden ceiling adds a bit of pomp. Inside the porch is the tomb of Domenico Fontana, one of the major architects of the late 16th century, who died in Naples after beginning the Palazzo Reale.
On either side of the original entrance door are two fine Renaissance tombs. The one on the left as you face the door belongs to the Ligorio family (whose descendant Pirro designed the Villa d'Este in Tivoli) and is a work by Giovanni da Nola (1524). The tomb on the right is a masterpiece by Giuseppe Santacroce (1532) done for the del Pozzo family. To the left of the Ligorio Altar (the corner chapel on the immediate right as you face the altar) is the Mastrogiudice Chapel, whose altar contains precious reliefs of the Annunciation and Scenes from the Life of Jesus (1489) by Benedetto da Maiano, a great name in Tuscan sculpture. On the other side of the entrance is the Piccolomini Chapel, with a Crucifixion by Giulio Mazzoni (circa 1550), a refined marble altar (circa 1475), a funerary monument to Maria d'Aragona by another prominent Florentine sculptor, Antonello Rossellino (circa 1475), and on the right, a rather sweet fresco of the Annunciation by an anonymous follower of Piero della Francesca.
The true surprises of the church are to the right of the altar, in the presbytery and adjoining rooms. The chapel just to the right of the main altar, belonging to the Orefice family, is richly decorated in pre-Baroque (1596–98) polychrome marbles and frescoes by Luis Rodriguez; from here you continue on through the Oratory of the Holy Sepulchre, with the tomb of Antonio D'Alessandro and his wife, to reach the church's showpiece: a potently realistic life-size group of eight terra-cotta figures by Guido Mazzoni (1492), which make up a Pietà; the faces are said to be modeled from people at the Aragonese court. Toward the rear of the church is Cappella dell'Assunta, with a fun painting in its corner of a monk by Michelangelo's student Giorgio Vasari, and the lovely Sacrestia Vecchia (Old Sacristy), adorned with one of the most successful decorative ensembles Vasari ever painted (1544) and breathtaking wood-inlay stalls by Fra' Giovanni da Verona and assistants (1506–10) with views of famous buildings.