The shrines in Naples: a blend of sacred and profane

Do you know when and why the sacred shrines were born in Naples? The city is full of them, there are thousands. Yet, initially, these little altars were not places of worship, but served the function of lighting up the alleys.
The idea came from a Dominican parish priest from Massa Lubrense, Father Gregorio Maria Rocco, and it was born, a bit like all Neapolitan traditions, from a real necessity: to light up the alleys. At the time, in fact, and we are talking about the 18th century, during the Bourbon period, the streets were dark, and there was a danger of theft.
The priest, then, thought of placing some images of the Madonna on the walls. He knew, in fact, that the faithful would light them with candles. It is precisely on this occasion, it seems, that the saying, which later became common in Neapolitan, “C''a Maronna t'accumpagne!” (“May the Madonna accompany you!”), was born, a wish given to those starting their journey as a traveler.

Father Rocco, therefore, actually created the first work of street art.

Over time, the shrines then became real places of worship, dedicated not only to the Madonna, but also to other saints. These places of worship were not so much cared for by the institutions, but by the families of the neighborhood.

In Naples, most of the shrines bear the founding date of 1884, because the Neapolitans dedicated them to the saints, as a sort of ex-voto, for having been saved from the cholera epidemic. Many were damaged by the bombings of 1943, the year in which the city was devastated first by the Americans and then by the Germans, and then ended the war by driving out the German troops during the Four Days (September 27 - October 1, 1943). They also bear the date of restoration, which for many shrines took place between 1945 and 1947. And generally those who pay for the restoration are a family from the neighborhood, or individual residents, who sign with their nicknames, as happens for one of the sacred shrines in the Spanish Quarters, which is cared for by “Titinella and Spalluzzella”.

Often, inside a shrine, we also find images of the deceased of the family who had it built, so that those poor souls may be protected by the saint. And we also find ex-votos, the silver objects that are generally left to the saints as a sign of devotion.

But let's also look at the structure of these little altars: what do they resemble? The term “edicola” (shrine) derives from “aedes”, which means “temple”. In fact, in ancient Roman domus there were already these little temples, dedicated to the lares, protective entities of the house. The cult of the lares and penates was similar to that of the gods, but more intimate, more “familiar”. Just like the sacred shrines.

Today in Naples there are also many profane shrines, such as those dedicated to Maradona or Totò.

Then there is, among all, my favorite shrine. It is the one in front of the Pallonetto Santa Chiara, at the intersection with via Santa Chiara. There, the two dimensions – sacred and profane – are both present, thanks to a poster of Pulcinella, a work of street art by the photographer Fabio Calvetti. On Instagram his nickname is “olossolo”, his photos of a Pulcinella show are on Neapolitan walls, perfectly in tune with the context.

The Pulcinella in via Santa Chiara seems to address the Madonna of the shrine like a beggar, like someone asking for a few coins. And, if you think about it, when we ask something of the saints, don't we, more or less, take the same attitude?

Do you know when and why the sacred shrines were born in Naples? The city is full of them, there are thousands. Yet, initially, these little altars were not places of worship, but served the function of lighting up the alleys.
The idea came from a Dominican parish priest from Massa Lubrense, Father Gregorio Maria Rocco, and it was born, a bit like all Neapolitan traditions, from a real necessity: to light up the alleys. At the time, in fact, and we are talking about the 18th century, during the Bourbon period, the streets were dark, and there was a danger of theft.
The priest, then, thought of placing some images of the Madonna on the walls. He knew, in fact, that the faithful would light them with candles. It is precisely on this occasion, it seems, that the saying, which later became common in Neapolitan, “C''a Maronna t'accumpagne!” (“May the Madonna accompany you!”), was born, a wish given to those starting their journey as a traveler.

Father Rocco, therefore, actually created the first work of street art.

Over time, the shrines then became real places of worship, dedicated not only to the Madonna, but also to other saints. These places of worship were not so much cared for by the institutions, but by the families of the neighborhood.

In Naples, most of the shrines bear the founding date of 1884, because the Neapolitans dedicated them to the saints, as a sort of ex-voto, for having been saved from the cholera epidemic. Many were damaged by the bombings of 1943, the year in which the city was devastated first by the Americans and then by the Germans, and then ended the war by driving out the German troops during the Four Days (September 27 - October 1, 1943). They also bear the date of restoration, which for many shrines took place between 1945 and 1947. And generally those who pay for the restoration are a family from the neighborhood, or individual residents, who sign with their nicknames, as happens for one of the sacred shrines in the Spanish Quarters, which is cared for by “Titinella and Spalluzzella”.

Often, inside a shrine, we also find images of the deceased of the family who had it built, so that those poor souls may be protected by the saint. And we also find ex-votos, the silver objects that are generally left to the saints as a sign of devotion.

But let's also look at the structure of these little altars: what do they resemble? The term “edicola” (shrine) derives from “aedes”, which means “temple”. In fact, in ancient Roman domus there were already these little temples, dedicated to the lares, protective entities of the house. The cult of the lares and penates was similar to that of the gods, but more intimate, more “familiar”. Just like the sacred shrines.

Today in Naples there are also many profane shrines, such as those dedicated to Maradona or Totò.

Then there is, among all, my favorite shrine. It is the one in front of the Pallonetto Santa Chiara, at the intersection with via Santa Chiara. There, the two dimensions – sacred and profane – are both present, thanks to a poster of Pulcinella, a work of street art by the photographer Fabio Calvetti. On Instagram his nickname is “olossolo”, his photos of a Pulcinella show are on Neapolitan walls, perfectly in tune with the context.

The Pulcinella in via Santa Chiara seems to address the Madonna of the shrine like a beggar, like someone asking for a few coins. And, if you think about it, when we ask something of the saints, don't we, more or less, take the same attitude?