Summary Gesù Nuovo was transformed from a 15th-century palace into a Jesuit church in 1584. Behind its austere, diamond-point façade lies a richly ornamented interior, featuring ten side chapels, and a central dome frescoed with celestial scenes. The church houses the relics and preserved bedroom of Saint Giuseppe Moscati, blending scientific legacy with spiritual devotion. Its organ loft, sculptural altars, and layered iconography reflect Jesuit ideals of beauty, contemplation, and ascent, making it both a civic monument and a sanctuary of healing and remembrance.

Situated in the Piazza del Gesù Nuovo, within the historic centre of Naples, the Church of Gesù Nuovo was built in 1470 as a palace for Roberto Sanseverino, Prince of Salerno.  In the 1580’s the building was confiscated from the Sanseverino family by the authorities due to political intrigues and the family's fall from favour. It was then sold to the Jesuits, who between 1584 and 1601 converted it into a church and gave it the name of the Church of Gesù Nuovo, which in Italian means New Jesus. When the Jesuits were expelled from Naples in 1767 the church passed to the Franciscan order, the Jesuits returned in 1821, although they were expelled again in 1848.

The conversion was carried out under the direction of Jesuit architect Giuseppe Valeriano, who retained the original facade of the palace with its Bugnato style. This has bulges and protrusions, giving it its’ rustic ashlar diamond projections - an architectural style rare in southern Italy and often associated with mystical symbolism. Each stone block is made of grey piperno stone, a volcanic rock native to the region and is carved into a three-dimensional pyramid. Some scholars believe these shapes may encode esoteric symbols or musical notes, though this remains speculative.

Standing in the square in front of the church is a Spire, that was built between 1747 and 1750, to replace an equestrian statue of Philip V, which was destroyed when Austrian forces took Naples in 1707.

Known as the Guglia of the Immaculate Virgin, the Spire stands 22 metres (72 ft) high, it was built to invoke the protection of the Virgin Mary. Commissioned by the Jesuits it was designed by Giuseppe Genoino, with sculptural work by Neapolitan sculptors Matteo Bottiglieri and Francesco Pagano. 

Containing work in bas-relief the Guglia of the Immaculate Virgin depicts scenes from the New Testament. The base is richly decorated with floral motifs and cherubs, while the middle tiers feature Jesuit saints like St. Ignatius of Loyola and St. Francis Xavier.  The reliefs depict events of the Annunciation, Nativity, Purification, and Coronation. At the top stands a copper statue of the Virgin Mary, crowned each year on December 8th, the Feast of the Immaculate Conception, by a firefighter who climbs the spire in a local tradition.

 

The exterior of the church itself has no statues, reliefs or traditional religious iconography detracting from the fact that it is a church.

The three entrance portals are relatively understated, framed by simple pilasters and topped with triangular pediments, allowing the diamond pattern to dominate visually.
The doorway itself is Baroque in style, added during the Jesuit transformation in the late 16th century. It features ornate carvings, Jesuit emblems, and a Latin inscription invoking divine protection.  Above the portal, is a sculpted pediment and decorative elements that contrast with the austere façade which hint at the spiritual richness within.

 

Whereas the façade is in the Renaissance style, the church’s interior is Baroque, creating a striking contrast between exterior austerity and interior opulence.  
The church follows the Greek cross plan, with the central nave (approximately 50 meters ((164 feet)) long) stretching from the entrance to the apse with flooring in geometric marble inlay. On each side of the nave are large polychrome marble pillars that rise to a richly carved cornice and vaulted ceiling. 

 

The central nave’s vault frescoes depict scenes from the Old and New Testaments, including: The Annunciation; The Adoration of the Magi; The Crucifixion and The Resurrection. These were painted by Belisario Corenzio, a Greek-born artist active in Naples during the early 17th century.

The first section of the nave vault, between the entrance and the dome, displays biblical scenes painted by Belisario Corenzio and Paolo de Matteis.      The second section, leading toward the apse, features Massimo Stanzione’s depictions of the Virgin Mary’s life.

Above the transit is the dome, although this is not the original one as that collapsed in 1688 due to an earthquake. It was rebuilt although remained structurally unsafe, prompting reinforcement efforts beginning in 1771. Despite these efforts, the dome was replaced in 1786 with a bowl-shaped false dome, designed to be lighter and more stable. Its interior frescoes depict heavenly scenes, and the oculus allows natural light to filter in.

During World War II, the dome suffered serious damage from bombings, which also devastated the nearby Church of Santa Chiara . The church remained closed until 1975, when the dome was finally rebuilt using reinforced concrete, restoring its visual presence and structural integrity.

 

Behind the entrance façade looking back along the nave is The Expulsion of Heliodorus from the Temple (1725) by Francesco Solimena.

 
 
Flanking the nave, are a total of 10 side chapels, arranged along the two lateral aisles with five on each side. 

The Chapel of the Crucifix is the first upon entering the church, on the right-hand side of the nave. It features a scene of the crucifixion.   The chapel provides a quiet, contemplative atmosphere, ideal for personal prayer and reflection.
Beneath the altar lies the urn containing the relics of Saint Ciro - a 3rd-century physician, hermit, and martyr who suffered persecution under Emperor Diocletian.
As a doctor-saint, Ciro is often invoked for healing, making this chapel a place of both spiritual and physical intercession.

The chapel has a statue of Christ crucified, with the Blessed Virgin and St. John, which was sculptured in wood by Francesco Mollica, 17th-century Neapolitan woodcarver and a pupil of Michelangelo Naccherino. Above this is the Angel holding Veronica's Veil painted by the school of Vaccaro. On the ceiling are frescos telling the Story of Christ, which was painted by Giovanni Battista Benaschi, and retouched by Petronsio. On the right side, is a roman cinerary urn, containing the relics of St. John, a soldier and follower of St. Ciro’s.

 
The Chapel of St. Francis Xavier is a tribute to one of the Jesuit order’s most revered missionaries, Saint Francis Xavier (1506–1552) one of the most prolific missionaries in history, who travelled through India, Japan, and Southeast Asia. He is portrayed not just as a saint, but as a global evangelist, echoing the Jesuit mission to spread Christianity across continents.

The altar-piece, represents the Saint while he is receiving a vision of the Virgin Mary, a work attributed to Giovanni Bernardino Azzolino (1560-1610). On the upper part, there are three paintings by Luca Giordano (1632-1705), which represent some episodes from the Saint’s life, while the vault frescos, representing other episodes from St. Francis Xavier’s life, were executed by Belisario Corenzio (1560-1630) and Paolo De Matteis (1662-1728). the ceiling illustrates episodes from Xavier’s missionary life, including his travels through Asia and miraculous healings.

 

Below the altar is a glass case containing a sculpture of Saint Francis Xavier, a lifelike representation that blends artistry, reverence, and a touch of theatrical Baroque drama.

The sculpture depicts the Saint, co-founder of the Jesuit order, lying in repose within a glass and wood reliquary. He is dressed in ornate priestly vestments, embroidered with gold thread, and his face is rendered with serene, contemplative detail. Although not a real relic, the sculpture serves as a visual relic simulacrum, a common Baroque practice meant to evoke emotional piety and awe. The glass case allows pilgrims and visitors to contemplate the saint’s life and death, reinforcing Jesuit ideals of sacrifice, evangelism, and mystical union with Christ.  The setting is often surrounded by candles, votive offerings, and sometimes fresh flowers, emphasizing its role as a living devotional site.

 

The Chapel of St. Ignatius of Loyola, honours the Jesuit founder, often featuring iconography of spiritual warfare and divine illumination. In this chapel are two statues of David and Jeremiah by Cosimo Fanzago. He also helped complete the decoration of the chapel, rebuilt after the 1688 earthquake. On the upper part, paintings by Ribera portray episodes in the life of the Saint: when he received the rules of the order from the Virgin, when he received approval of the order from Pope Paul II, and a glorification of the Saint. The vault frescos, with episodes from St. Ignatius’s life by De Matteis. The Prince of Venosa, Carlo Gesualdo, who was a famous composer and infamous murderer of his wife and her lover, is buried in front of the St. Ignatius Chapel.

 

The Chapel of the Visitation has an altar-piece by Massimo Stanzione. Under the altar there is a bronze urn containing the mortal remains of St. Joseph Moscati (1880–1927), a physician and biochemistry teacher at the University of Naples who was canonized on 25 October 1987 by Pope John Paul II. His medical activities are shown in the triptych sculptured on the urn by Amedeo Garufi. The left panel shows the professor with his students, the middle the saint enlightened by the Eucharist, the right one the doctor, giving comfort to suffering and sick people at the Hospital. In 1990, a bronze statue of the saint, by Pier Luigi Sopelsa, was erected to the left of the altar.

 

Adjacent to the right transept are the living quarters of Saint Giuseppe Moscati which offer a personal look into the life of the saint.  It shows a recreation of his bedroom and study, including the armchair in which he died in 1927. It also includes personal items, such as medical instruments, books, and devotional objects. Also on display is his bedroom. 

 
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At the far end of the nave past the crossing and behind the altar is the apse. This was designed by Cosimo Fanzago (1591–1678), one of Naples’ most celebrated Baroque architects and features six massive monolithic columns, framing the altar like a celestial throne room.

The High Altar is of inlaid marble, and includes lapis lazuli, onyx, and amethyst, symbolizing purity, wisdom, and divine light.  This was originally designed by Cosimo Fanzago. The design was later revised by Gian Lorenzo Bernini (1598–1680), adding Roman grandeur.

The altar as it is today, was completed in 1857. At the centre stands a large statue of the Virgin, sculpted by Antonio Busciolano (1823–1871), elevated on a marble pedestal supported by statues of angels. Flanking the Virgin are statues of Saint Peter and Saint Paul, also by Busciolano.

 

The church has two organs, the one which is used today is located on the right side of the church in the organ loft, this is the elevated gallery where the church’s pipe organ is housed. It is framed by ornate balustrades and located at the rear of the nave over the Chapel of the Crucifix. It allows musicians and choir members to perform out of direct view, creating a sense of sound descending from above. Built in 1650 by the Neapolitan organ builder Pompeo di Franco it features 52 registers and 2,523 pipes. In 1986 it underwent major restoration by Gustavo Zanin, preserving its Baroque character while enhancing its performance.  The church also has a left organ, built before 1646 by Vincenzo Miraglia, but this one is no longer in use.

 

To the side of the organ loft is the pulpit. Its location allows the preacher to address the congregation directly and ensures that the preacher can be heard across the nave.
Crafted from polychrome marble, consistent with the church’s overall decorative scheme, and features gilded accents and sculptural reliefs. Its balustrade and base are adorned with Jesuit emblems, such as the IHS Christogram and symbols of evangelization.

 

The confessionals within the church are integral elements of its architecture, designed to harmonise with the Baroque splendour while serving a deeply personal spiritual function.

Carved from dark wood, with ornate mouldings they are placed along the side aisles on both sides of the nave between chapels. This layout echoes Jesuit principles of accessibility and spiritual guidance.