The Sovereigns' private chapels in the Royal Palace of Caserta

The sovereigns' private chapels were places of intimate reflection where one can still discern the sense of profound religiosity that inspired the lives of the Bourbon monarchs.

AUTHOR. Salvatore Scarfone. (Thanks to Maria Carmen Masi)

The private chapel of King Ferdinand II of Bourbon

The space was designed by the architect Carlo Vanvitelli, who succeeded his father, Luigi, as the official in charge of construction at the Royal Palace of Caserta. Inventories describe it as the “Private Oratory of His Majesty the King.”The Oratory has a rectangular layout consisting of a single chamber divided into two bays covered by pavilion vaults. The walls feature architectural motifs painted in tempera above a faux-marble dado. Foliate scrolls adorn the wall panels, interspersed with quatrefoil medallions depicting angels at prayer. Above the polychrome marble altar, the dove of the Holy Spirit crowns the painted aedicule situated behind the altarpiece depicting the Assumption of the Virgin Mary. Furnishings include a rosewood prayer bench, four wooden vases containing fabric flowers, a gilded bronze crucifix, and two sets of candlesticks. Three altar cards in gold-stained wooden frames hang on the walls.

Queen Maria Carolina's private chapel

The room was designed by the architect Carlo Vanvitelli, who had succeeded his father, Luigi, as the official in charge of construction at the Royal Palace of Caserta. Inventories describe it as the “Private Oratory of Her Majesty the Queen.”

Behind the Second Reading Room lay a small passageway leading to the small chapel of Queen Maria Carolina. Following the deaths of her firstborn children, Carlo Tito and Marianna, she decided to dedicate the chapel to *Maria Santissima Addolorata* (Our Lady of Sorrows)—a dedication evident from the décor and the oil painting by Carlo Brunelli. For her personal devotions, the Queen kept a biscuit porcelain statue of Saint Francis of Paola in the chapel.