A first church, with the title of St. Francis Saverio, it was founded by the Jesuits in 1622, together in a small college; in 1624 for initiative of Caterina Zunica they set out jobs of amplification.
After the foundation the jobs must be suspended up to 1628, for then to take back later up to the definitive completion of the college gesuitico.
After the Jesuits' expulsion from the kingdom, in 1767, it passed costantiniani to the riders how complimentary to the king Ferdinando IV they entitled to its homonym saint.
The traditional historiography attributed the realization of the project to Cosimo Fanzago, author, instead, of the modernization of the church (inside and façade).
The church came, in reality, realized on project of Giovan Giacomo Of I Comfort as they show the preserved sketches to the Museum of St. Martin. From these it notices a full adhesion to the taste of transition from the mannerism to the Baroque one.
The long interval understood among 1628 and the remaking of the apse that, in lack of data of file, can be dated on the base of the cloth of the greatest altar, Luca's Giordano work that it came to replace that of Salvator Rosa, it doesn't allow to judge how much has been indeed realized of the project of the Of Comfort how much, instead, the intervention of Cosimo Fanzago is owed to.
These it is prepared, with the work of modernization, to melt architecture and sculpture according to a similar to orientation the project for the portico of façade of the Mountain of the Mercy.
The analogy of imprint pushes to date its intervention in the church of St. Ferdinando around half Six hundred.
They conceal (1692), and with him many others, confuse the intervention fanzaghiano, surely back, with the initial project and the whole work attributes him.
The inside contains a lot of valid testimonies of art as the frescos of the De Matteis that they represent the saints of the order. On the greatest altar St. Ferdinando is of the Maldarelli, while in the transetto (side arm of the cross) left there am a Conception of Caesar Fracanzano and the statues of David and Mosè of Lawrence and Domenico Anthony Vaccaro.
For the greatest altar, the Jesuits, thanks to a generous legacy of 30.000 dukedoms received by the vicereine Caterina of the Cerda y Sandoval, widow of the viceroy Mr. Pedro de Castro count of Lemos, had commissioned a St. Francis Saverio to Salvator Rosa, but the cloth didn't have the approval of the Jesuits that you/they commissioned a second of it to Caesar Fracanzano, but also the difficult buyers that turned to Luca Giordano didn't like this cloth which, not to incur in the same accident, nicchiò for a long time until after a definite intervention of the viceroy, the marquis of the Carpio, with that proverbial quickness that worth him the appellative of "Luca do soon", it performed in sun forty hours the work that it liked so to the viceroy to be yielded a study to the artist in the viceregal building so that the marquis was able, in the moments of calm granted by the cares of the government to enjoy the show of Luca to the job.
Also the Spagnoletto worked for the church of St. Ferdinando painting a St. Bartholomew that received not only admires him enthusiasm of the people, but of the viceroy of the time, Mr. Pedro Giron count of Ossuna, that a second cloth commissioned him to give representative S. Antonio in Padua to the church.
Also the Gallant quotes a S. Stanislao attributed to the Ribera, but of all these testimonies of the Spagnoletto news is not had in anymore the church.
With the advent of the riders costantiniani the S. Francis Saverio of the Jordan was transferred to the Museum and replaced with a S. Ferdinando and S. Giacomo of the Sarnelli, student of the De Matteis, that will be replaced then in turn by a S. Ferdinando of the Maldarelli.
The church is center of the arciconfraternita of S. Ferdinando of Building of Ours Mrs. of the Seven Pains, that it goes up again to 1522, founded in the destroyed church of Saint Spirit of Building.
They were brothers of this noble arciconfraternita the kings of Naples to start from Charles of Borbone, the queens, some pontiffs, and after the unity of Italy, the kings thin sabaudi to Umberto II. Also in the secular French decade it had the protection of Joseph Bonaparte.
To remember that a precise real decree forbade the burial of the dead ones in the church of S. Ferdinando, but an only exception was granted to the duchess Lucia Migliaccio Partanna of Floridia, wife morganatica of Ferdinando I, that is buried in a rigorous neoclassic funeral monument of Tito Angelini in the left transetto. The regal husband gave her the famous villa to the Vomero that called Floridiana from his name.
The city of Naples: Not all but of all on this magnificent city. Sees under a historical and cultural profile. http://www.dentronapoli.it
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