These churches were certainly not "miscellaneous" to the people who built them, nor to those who have frequented them over the centuries in Naples. It's just that a separate item about each church in Naples would denude the cyberforests of the world. These, then, are the first seven entries of a potentially very long series noting the presence of the many small or less noticed churches in a city where--in 1700--ten percent of the population belonged to the clergy.

Santa Caterina a Formiello is at the extreme eastern end of the old historic center of the city, near the old eastern wall of the city and the gate called Porta Capuana. It was founded about 1510, completed in 1593, and dedicated to the virgin martyr of Alexandria. It constituted an important part of an ancient monastery that originally belonged to the Celestine order and which passed to the Domenican fathers after 1498. They kept it until the 19th century, when the monastic premises were closed and used as a wool factory. Exceptional frescoes by Luigi Garzi from 1685 and various 16th century funeral monuments are kept within the church. The church has a single-aisle Latin cross interior covered by a barrel vault with five chapels on either side.

San Giovanni a Carbonara is at the northern end of via Carbonara, just outside what used to be the eastern wall of the old city. The name carbonara (meaning "coal-carrier") was given to this site allocated for the collection and burning of refuse outside the city walls in the Middle Ages. The monastery/ church complex of San Giovanni, itself, was founded by Augustinians in 1343. The church was completed in 1418 under King Ladislaus of Durazzo, who turned the church into a Pantheon-like tribute to the last of the Angevin rulers of Naples. It was expanded over the course of the following three centuries and contains sculptures and artwork of considerable interest, including the chapels of Caracciolo del Sole and Caracciolo di Vico.

Santa Caterina a Chiaia is also known as Santa Caterina martire and is near Piazza dei Martiri in the western, Chiaia section of the city. The church was built originally as a small family chapel by the Forti family and then ceded to the Franciscan order, which expanded it by 1600. The church that ones sees today, however, is the result of a series of remodelings, including one as late as 1732 in the wake of a serious earthquake in that year. The facade is characterized by a representation of the Martyrdom of Saint Catherine of Alexandria. The main entrance is marked by a plaque commemorating a restoration of the facade in 1904. Art work in the interior is mostly dedicated to the life of Saint Catherine, including a prominent dome display by Gustavo Girosi from 1916.

The New Church of Santa Maria of Jerusalem—also known as the Church of the Thirty-Three is hidden away on via Pisanelli, a small street in the historic center of Naples. It was built in the second half of the 16th century and later demolished to make place for the present one, built at a right angle to the earlier church. Inside, there is stucco decoration and an 18th-century majolica floor. The small convent annexed to the church became, in 1539, home to a group of cloistered Capuchin sisters. The premises still serve that purpose. The church was called Thirty Three from the number of sisters who could be housed there, with a clear reference to the age of Christ at the time of the Crucifixion. (The photo below is as about as close as you're going to get. When they say "cloistered," they're not kidding, and when I say "hidden away", I mean invisible. A stealth nunnery.

Santa Teresa a Chiaiais one of the many churches in Naples built by Cosimo Fanzago, the greatest architect of the Neapolitan Baroque. The church is two blocks in from the Villa Comunalein the western part of Naples. The original church and monastery on this site was from 1625 and belonged to the Carmelite Order. At the time, the area inland from the sea, in back of the string of seaside Spanish villas, was wooded and relatively bucolic. In the years between 1650 and 1664, a new complex was built by Fanzago, and it was quite large, occupying much of the land around the church that one sees today. The monastery was closed in the 1860s and various episodes of urban renewal--and in some cases, urban blight-- have truncated the original complex such that, of the original premises that included gardens and such, only the church remains. Some care has been taken, however, to keep it looking the way it did when it was built. The facade is an excellent example of the Neapolitan Baroque. Within the church, there are significant examples of art work by Luca Giordano.

San Giuseppe dei Ruffiis in the historic center of the city, one block north of the Cathedral of Naplesat the intersection of via dei Tribunali and via Duomo. The site, itself, was orignally the location of the ancient monastery of Santa Maria degli Angeli, closed in the 1500s. In 1611 it was aquired by the Ruffo family as a site for a new convent. Restructuring the earlier premises was done to a design by Dionisio Lazzari; the work was begun in 1669 and the new convent was inaugurated in 1682, the work completed by Lazzari's student, Giovan Domenico Vinaccia. The Ruffo family retained the premises until 1828 when it was given over to sisters of the Sacramentine order, who retain it to this day. Much of the ornamentation in the church was not completed until the early 1770's. Obviously, San Giuseppe dei Ruffi has severe competetion one block away at the Cathedral; nevertheless, the interior of the church is a spectacular example of the Neapolitan Baroque and Rococo.

Like many of the nearby buildings along the same north-south axis, the original complex was truncated by the construction of via Duomo, the broad, straight road that now connects Corso Umberto in the south to via Foria on the northern side of the historic center. That construction was part of the Risanamento, the urban renewal of Naples in the late 1800s.

San Pasquale. The church and adjacent monastery of San Pasquale are one short block to the north of the Villa Comunale and Riviera di Chiaia on San Pasquale square, between Piazza Vittoria and Mergellina. The complex goes back to 1749 when Charles III and his consort, Maria Amalia, had it built in thanks for having been blessed with a male heir to the throne. Church and monastery were given to the Fathers of Alcantarini Leccesi. The monastery was closed by the government of the new nation state of Italy in December of 1866. The premises contain significant art work of Antonio Sarnelli and Giacinto Diano.

Photos: top--Santa Caterina a Formiello; then in gallery (below), left to right: San Giovanni a Carbonara, Santa Caterina a Chiaia, Church of the Thirty-Three, Santa Teresa a Chiaia, San Giuseppe dei Ruffi, San Pasquale.