St. Filippo Neri's movement places

The Church of San Filippo Neri and the Immaculate Conception was designed by Francesco Massari between 1680 and 1722 and finished by Lucio Bonomi. The interior, made by masters Mastro Tobia and Lorenzo Vibi, is decorated with gold and stucco. It has a Latin cross plan and a single nave with Corinthian pilasters; the side chapels feature barrel vaults. The main altar dates back to 1843 and houses a statue that replaces a precious painting, probably made by Lazzaro Baldi, upon design by Pietro da Cortona, now placed on the transept. In the transept you can admire paintings by Ubaldo Ricci da Fermo (first half of '700);  in the third chapel on the left is the only marble altar of the church, that houses some relics of San Filippo contained in the polls and in two busts of the Saint; in the second chapel, erected in 1725 by Recco family, is the "Transit of St. Joseph". Since 1996 the crypt has been home to the Museum of Rural Life of the Piceno area.

The Adoration of the Shepherds is an oil on canvas painting (300x192 cm) made in 1608 by the painter Peter Paul Rubens. It was recognized in the early twentieth century by the great historian Roberto Longhi, who also identified it as the night. It is kept at the Civic Art Gallery of Fermo.
The Adoration of the Shepherds, was executed by Rubens during his stay in Rome for Costantini chapel in the church of San Filippo Neri in Fermo. This work is rich in Caravaggio's suggestions and rhetoric devotional meaning. It can be placed in the dictates of the Counter-reform with a spectacular and theatrical Baroque style, highlighted by the band of angels surrounding the sacred representation, skillfully played on determined alternations of shadows and lights.

The Church of San Filippo was built  in 1594 and dedicated to the Saint about thirteen years later. The Congregation of the Oratory Fathers (now San Filippo after the death of its founder) came to Fermo in 1582 with San Filippo Neri and settled in the church of San Gregorio; later they moved to the Church of San Rocco. In 1593 the Congregation  moved to the fourteenth-century church of the Holy Spirit; one year later the Church of San Filippo was built upon the foundations of the previous one and on the basis of a plan made by Giovanni Antonio Dosio. It was opened in 1607. The unfinished façade of the church has a seventeenth-century Doric portal in Istrian stone, while the typically baroque interior is decorated with frescoes and lavish stucco. The church has Latin cross plan and a single nave flanked by six chapels. The prominent families of the area made substantial donations to the Congregation, such as sculptures and valuable paintings. The most important one is the Descent of the Holy Spirit on the Virgin and apostles, made by Giovanni Lanfranco, a seventeenth-century  painter of the Bolognese school. Two paintings in the smaller chapels depict San Lucio I and Saint Margaret made by Benedetto Gennari from Cento, who was trained in his uncles's ( Guercino) workshop. In the main altar chapel on the right is the Nativity, an early masterpiece by Peter Paul Rubens. The use of light here is very effective in creating an atmosphere full of expectations.

The first construction, started in 1665, was soon followed in 1722 by a second that saw the demolition of the first building and the creation of a second church to a design by the architect Romolo Broglio from Treia. The façade was built subsequently (1774). The interior consists of a single chamber, with lunette barrel vaulted ceiling and two lateral chapels on each side. There is exteremely sumptuous gold leaf gilding on the high altar (1735) that houses the painting by Pier Simone Fanelli showing Saint Philip in the Catacombs. The four minor side chapels all have altars with altarpieces in stucco and scagliola and are richly decorated.

fter the canonisation of Saint Philip Neri in 1624, the Oratorians, already present in Macerata from 1611, decided to erect a building dedicated to the founder of the Order. Over the course of the 17^th century yhe church of San Filippo was enlarged several times due to the increasing demands of the congregation until a completely new church was designed by G.B. Contini, which was completed in 1730. A westwork was adopted for the façade of the church which includes two twin towers terminating in onion spires, whilst the interior consists of a longitudinal plan with a central elliptical body along the main axis and with four chaples in the shape of a St. Andrew’s cross. The building contains varied and sumptuous ornamentation, produced in scagliola, as well as a fine altarpiece in marble for the high altar created by G. Bonessi between 1764 and 1770. Creators of the other decorative elements include S. Porfiri, L. Picozzi and G. Rodolini whilst the frescoes in the sacristy are the work of G. Alberti and the boiseries are by S. Fioravanti from Macerata.

The Church of St. Filippo, that overlooks the splendid “Piazza della Repubblica” (Republic Square), was built between 1767 and 1773 at the hands of Pietro Augustoni (1741-1813), an architect from Como.
The architect Giovanni Antinori (1724-1792) was commissioned to work at the façade, thought it remained uncompleted. This Philippine Church was submitted by various severe expropriations during Napoleonic and Post-Unification ages, thus it became property of the municipality.
At present, this church is used as an exhibition area. This ancient building has a single nave plant with a double span covered by two ribbed vaults and adorned with stucco and with painted ovals that represent St. Antonio Abate and St. Filippo; the wide space of the two spans opens on two pairs of side chapels linked to the naves through splayed vaults which top is adorned with mirrored ovals depicting the Cardinal Virtues.
The presbyterial area has a rectangular plant and it is covered by a ribbed vault and on both sides it hosts two elegant wooden choirs. The natural enlightenment of the church is due to the open lunettes of the four chapels and to the two sides of the presbyterial space, to the oculus positioned above the pediment of the high altar and to the window of the counter-façade. Along the perimeter is it possible to admire an high entablature frame that is supported by pilasters of Corinthian order. In the rear of the church there is the sacristy with a barrel vault and the oratory with a rectangular plant and with a stuccoed gable ceiling.
The chapels located to the sides, are enriched of altars made of a golden wooden structure in faux marble: there, it is possible to admire the paintings “St. Carlo Borromeo who speaks”, “St. Luigi Gonzaga” painted by Pasquale Ciaramponi from Treia (first right chapel), a canvas that depicts “SS. Vergine of the Beautiful Love” by Prospero Maiolini (second right chapel), “Crucefix” that dates back to 15th century (second left chapel); Pasquale Ciaramponi (1734-1792) has also painted the canvas with “Christ in Glory”, St. Antonio Abate and SS. Ignazio Lodola, Clemente Martire, Francesco of Sales, Francesco Borgia (first left chapel).

The Apparition of the Virgin and Child to San Filippo Neri is an autograph painting signed by Giambattista Tiepolo, an oil on canvas (size: cm. 350 x 182) realized for the second chapel, dedicated to San Filippo Neri, in the homonymous Church of Camerino. The painting was published in the pages of the magazine AV in 1964 by Zampetti, but indeed there are no documents with news on the altarpiece, neither on the chapel in which it is located, surrounded by a large marble frame. We certainly know that only in 1735 the roof of the Church was finished and the interior decorations began. Following a careful analysis of the style we can chronologically place the work in the period of the altarpiece of Our Lady with Saints Catherine, Rosa witn Child and Agnese, ie after the frescoes of Santa Maria dei Gesuati in Venice, of which there are records (1737 -39), a style where the chromatic beauty and calm compositional structure, without any disruption of the boundary, harmoniously excel. These assumptions are also validated by the delicate and gentle figure of the Virgin Mary which recalls the feminine images of the paintings of the Carmini in Venice.

It is thanks to the Oratorian Fathers and various public and private donations received from the beginning of the 17^th century that we owe the construction of this church. The building was opened for worship a few years later in 1735. The exterior is constructed in brickwork with mouldings, Ionic capitals and urns in white stone. It is built on two levels connected by ample volutes. The interior has a prevalently centralised plan with greater development along the longitudinal nave with two large chapels half way down. 
The two larger side chapels, respectively dedicated to Saint Philip and to Our Lady of Sorrows, are very richly decorated with stucco cherubs, scrolls and festoons, including, in the chapel dedicated to Saint Philip, four ovals supported by cherubs depicting bas-relief scenes of his life. This chapel also houses the celebrated Apparition of the Virgin to Saint Philip Neripainted in 1739-40 by the Venetian master Giovan Battista Tiepolo.

Due to the earthquake occurred in 2016, the church is closed. The masterpiece by Tiepolo has been taken away in order to protect it. For further information please write to: numeroverde.turismo@regione.marche.it

Joined to the Convent and the Oratory of the Filippini Fathers, the Church of St. Filippo was built, between the years 1655 and 1660, by the noble Ottaviano Grassetti and donated to the religious people on 29th November 1660. Consecrated in 1737, coinciding with the restoration and the construction of the Convent of the Filippini Fathers, it has a measured terracotta façade with a niche at the center containing a terracotta statue of the Saint. The interior appears immediately as an interesting example of Baroque architecture, linked to the Filippini order.
The Oratory is accompanied by the eighteenth-century convent which, according the Filippini rules, must be attached to each sacred building linked to the order of St. Filippo. The most interesting part of the complex appears to be the secondary façade, along the outer walls, enlivened by a rich pattern of the openings, as opposed to the main façade on Via Oberdan, without any particular architectural relief. After the unification of Italy, the convent was used as headquarters for the School of Arts and Trades, later transformed into Regia Scuola Tecnica Industriale, to which a Goodwill Secondary Vocational School was also annexed, both for boys and girls and which today is no longer active.

Due to the earthquake occurred in 2016, the church is temporarily closed. For further information please write to: numeroverde.turismo@regione.marche.it

Originally built in the years 1646 to 1649 by Michele Buti from Pisa, it was rebuilt following the earthquake of 1741, by the architect Pietro Maria Loni. It is a single nave church with four side chapels, the works of art to note are: at the second altar on the left there is the painting by Giovanni Loreti depicting a Grieving Virgin, the altar piece dated 1742 depicting St. Filippo Neri was painted by Sebastiano Conca (1680-1764). The evocative frescoes in the Sacristy were painted by the artist Giuseppe Malatesta (1650 -1719) from Fabriano.