Chiesa di Santa Maria di Portosalvo
Chiesa di Santa Maria di Portosalvo
Chiesa di Santa Maria di Portosalvo
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Vincenzo C
Calolziocorte, Italy19,785 contributions
Sept 2020
La chiesa è ubicata in Via Porto Salvo, angolo Via Vittorio Emanuele, adiacente a Piazza Marina, non lontano dalla Chiesa di S. Maria della Catena (150/200 metri).
Venne edificata in stile rinascimentale, in circa trent’anni, a partire dalla metà del XVI secolo su progetto dell'architetto Antonello Gagini che venne sostituito, dopo la sua morte, dai due figli Antonino e Giacomo. Sotto la dominazione spagnola (1581), il Viceré Marcantonio Colonna decise che la chiesa assumesse l’attuale forma trapezoidale, attraverso l’eliminazione dell’abside, a causa dei lavori di prolungamento di Via Toledo (oggi Via Vittorio Emanuele) fino al mare.
La chiesa ha 2 prospetti che hanno bisogno di un urgente restauro conservativo. Quello su Via Portosalvo presenta nel primo ordine, tra 4 paraste corinzie, un portale sormontato da un timpano triangolare contenente un altorilievo raffigurante la Madonna con in braccio il Bambino e, sullo sfondo, delle navi in pericolo nel mare in tempesta (chiaro riferimento ad un ex-voto); sopra il portale ci sono 3 finestre sormontate da timpani lineari; nel secondo ordine ci sono 3 balconi con relativi finestroni. Il prospetto di Via Vittorio Emanuele presenta, tra 3 paraste corinzie, una finestra sormontata da un timpano lineare e, soprattutto, un portale delimitato da semicolonne con capitelli a volti e sormontato da un timpano spezzato contenente una nicchia aperta.
Non abbiamo visitato l'interno, perché la chiesa era chiusa.
Venne edificata in stile rinascimentale, in circa trent’anni, a partire dalla metà del XVI secolo su progetto dell'architetto Antonello Gagini che venne sostituito, dopo la sua morte, dai due figli Antonino e Giacomo. Sotto la dominazione spagnola (1581), il Viceré Marcantonio Colonna decise che la chiesa assumesse l’attuale forma trapezoidale, attraverso l’eliminazione dell’abside, a causa dei lavori di prolungamento di Via Toledo (oggi Via Vittorio Emanuele) fino al mare.
La chiesa ha 2 prospetti che hanno bisogno di un urgente restauro conservativo. Quello su Via Portosalvo presenta nel primo ordine, tra 4 paraste corinzie, un portale sormontato da un timpano triangolare contenente un altorilievo raffigurante la Madonna con in braccio il Bambino e, sullo sfondo, delle navi in pericolo nel mare in tempesta (chiaro riferimento ad un ex-voto); sopra il portale ci sono 3 finestre sormontate da timpani lineari; nel secondo ordine ci sono 3 balconi con relativi finestroni. Il prospetto di Via Vittorio Emanuele presenta, tra 3 paraste corinzie, una finestra sormontata da un timpano lineare e, soprattutto, un portale delimitato da semicolonne con capitelli a volti e sormontato da un timpano spezzato contenente una nicchia aperta.
Non abbiamo visitato l'interno, perché la chiesa era chiusa.
Written 12 November 2020
This review is the subjective opinion of a Tripadvisor member and not of Tripadvisor LLC. Tripadvisor performs checks on reviews as part of our industry-leading trust & safety standards. Read our transparency report to learn more.
michele p
Palermo, Italy3,115 contributions
Mar 2019 • Couples
Dovuta probabilmente alla progettazione di Antonello Gagini intorno al 1520, la chiesa subì notevoli modifiche quando nel 1581 fu aperto il Cassaro, l'attuale corso Vittorio Emanuele. Se l'esterno è stato penalizzato da tali trasformazioni, l'interno mantiene ancora caratteri del gotico-catalano, con archi, eleganti colonne dai bizzarri capitelli, la volta stellata del tiburio.
Written 22 April 2019
This review is the subjective opinion of a Tripadvisor member and not of Tripadvisor LLC. Tripadvisor performs checks on reviews as part of our industry-leading trust & safety standards. Read our transparency report to learn more.
GiKos
Palermo, Italy2,142 contributions
Mar 2016 • Family
Bella chiesa rinascimentale dalla forma insolita perchè parzialmente modificata per l'apertura dopo il 1587 del "Cassaro Morto" cioè quel tratto del Cassaro che va da piazza Marina a Porta Felice.
Facciata semplice ma incisiva conserva un interno di gusto gotico-rinascimentale ripartito in tre navate con alte colonne ed archi centrici.
Frutto dell'ingegno di Antonello Gagini, venne iniziata nel 1526 ma la sua costruzione durò diversi decenni, tant'è che dopo la morte del Gagini nel 1536, i lavori vennero ultimati dai figli, Antonino e Giacomo Gagini. E' opera di Giacomo il portale del 1559 che si affaccia sul Cassaro.
Alle spalle della chiesa, sulla Cala, un'antica fontana con belle iscrizioni purtroppo chiusa da una moderna cancellata.
Facciata semplice ma incisiva conserva un interno di gusto gotico-rinascimentale ripartito in tre navate con alte colonne ed archi centrici.
Frutto dell'ingegno di Antonello Gagini, venne iniziata nel 1526 ma la sua costruzione durò diversi decenni, tant'è che dopo la morte del Gagini nel 1536, i lavori vennero ultimati dai figli, Antonino e Giacomo Gagini. E' opera di Giacomo il portale del 1559 che si affaccia sul Cassaro.
Alle spalle della chiesa, sulla Cala, un'antica fontana con belle iscrizioni purtroppo chiusa da una moderna cancellata.
Written 27 June 2016
This review is the subjective opinion of a Tripadvisor member and not of Tripadvisor LLC. Tripadvisor performs checks on reviews as part of our industry-leading trust & safety standards. Read our transparency report to learn more.
claudio d
Viterbo, Italy41,183 contributions
Mar 2024 • Couples
Sixteenth-century church designed by Antonello Gagini but completed by others following Gagini's death. The intervention of several architects together with the extension of the Cassaro (c.so Vitt.Emanuele), which involved cutting the church at the level of the transept with the loss of the latter and the apses, resulted in a particular building, both in appearance and in plant. Externally it has two obtuse angle elevations facing south, at the intersection between Cassaro and Via di Porto Salvo and essentially represent the right side of the church; the rear façade (which must have faced the east) does not exist because the side walls converge at the point of a triangle; the left side is visible from the Cala side (north) in its straight part, while the inclined part converging towards the right wall is against another building; the facade does not exist because to the west there is a further building next to the church. Seeing the façades on Cassaro and via di Porto Salvo you immediately realize that they have undergone changes; in particular we can see that the second order was added later (second half of the 16th century). If it weren't for the portals with fluted columns and tympanum (one, the main one from which you enter, on via di Porto Salvo and the other on Corso Vittorio Emanuele) and the small bell tower (above the façade overlooking the Cassaro) , it would seem like a normal building (the second level of the façade on Via di Porto Salvo even has three small balconies). The facades are enlivened by pilasters, with composite capitals in the first order and Doric in the second, and always in the first order, by windows with frames and spaced architrave. On the facade overlooking Via di Porto Salvo you will notice the three drainers at the end of the first order, which no longer have any reason to exist and which constitute further evidence of the transformations of the building. On the left (north) side, you will notice a seventeenth-century fountain.
Interior with three naves (the side aisles are narrow) divided by columns in which, despite being a church built in the 16th century, a late-Gothic structure prevails due to the cross vaults (in the "apse" area there are also the characteristic ribs) and the pointed arches. On each side there are three chapels, with altars in the first and third on the right (in the second is the entrance compass) and in the third on the left; the first on the left, on whose walls there are three canvases, is essentially a storage room for chairs, while in the second on the left a simple Eucharistic table has been placed so as to be in front of the entrance of the faithful (who enter, as mentioned, from the right side, corresponding to the second chapel on the right); the benches are in fact arranged orthogonally to the axis of the church, from the right side facing towards the left side. Even inside, the mutilations suffered are evident: the large frescoed niche in the apse where the main altar is located was created after the loss of the transept and the apses following the aforementioned extension by Cassaro; on the counter-façade you will notice a baroque tribune due to the fact that in 1755 the orientation of the church was reversed and the presbytery was moved to the counter-façade (only in 1970 was it brought back to its current location). Among the works present in the church we note: in the first chapel on the right, hanging on the wall is the 16th century panel of the Madonna del Rosario and resting on the ground, on one side, is a 16th century triptych; in the second chapel on the left a 16th century panel of the Annunciation normally hangs, which is currently being restored and during our visit it was placed flat on trestles and covered with a white cloth in the first chapel on the right; in the third chapel on the right there is a fifteenth-century wooden crucifix.
Interior with three naves (the side aisles are narrow) divided by columns in which, despite being a church built in the 16th century, a late-Gothic structure prevails due to the cross vaults (in the "apse" area there are also the characteristic ribs) and the pointed arches. On each side there are three chapels, with altars in the first and third on the right (in the second is the entrance compass) and in the third on the left; the first on the left, on whose walls there are three canvases, is essentially a storage room for chairs, while in the second on the left a simple Eucharistic table has been placed so as to be in front of the entrance of the faithful (who enter, as mentioned, from the right side, corresponding to the second chapel on the right); the benches are in fact arranged orthogonally to the axis of the church, from the right side facing towards the left side. Even inside, the mutilations suffered are evident: the large frescoed niche in the apse where the main altar is located was created after the loss of the transept and the apses following the aforementioned extension by Cassaro; on the counter-façade you will notice a baroque tribune due to the fact that in 1755 the orientation of the church was reversed and the presbytery was moved to the counter-façade (only in 1970 was it brought back to its current location). Among the works present in the church we note: in the first chapel on the right, hanging on the wall is the 16th century panel of the Madonna del Rosario and resting on the ground, on one side, is a 16th century triptych; in the second chapel on the left a 16th century panel of the Annunciation normally hangs, which is currently being restored and during our visit it was placed flat on trestles and covered with a white cloth in the first chapel on the right; in the third chapel on the right there is a fifteenth-century wooden crucifix.
Written 29 March 2024
This review is the subjective opinion of a Tripadvisor member and not of Tripadvisor LLC. Tripadvisor performs checks on reviews as part of our industry-leading trust & safety standards. Read our transparency report to learn more.
Igor Alexeev
Moscow, Russia129,011 contributions
Mar 2018 • Family
Chiesa di Santa Maria di Porto Salvo - интересная архитектурная и историческая достопримечательность Палермо. Церковь Девы Марии построена около порта в 1556 году и до настоящего времени там же и находится... Будет небезынтересно взглянуть во время своей прогулки по Палермо...
Written 6 June 2018
This review is the subjective opinion of a Tripadvisor member and not of Tripadvisor LLC. Tripadvisor performs checks on reviews as part of our industry-leading trust & safety standards. Read our transparency report to learn more.
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