It’s in this Masonic-inspired baroque chapel that you’ll find Giuseppe Sanmartino’s incredible sculpture, Cristo velato (Veiled Christ), its marble veil so realistic that it’s tempting to try to lift it and view Christ underneath. It’s one of several artistic wonders that include Francesco Queirolo’s sculpture Disinganno (Disillusion), Antonio Corradini’s Pudicizia (Modesty) and riotously colourful frescoes by Francesco Maria Russo, the latter untouched since their creation in 1749.

Originally built around the end of the 16th century to house the tombs of the di Sangro family, the chapel was given its current baroque fit-out by Prince Raimondo di Sangro, who, between 1749 and 1766, commissioned the finest artists to adorn the interior. In Queirolo’s Disinganno, the man trying to untangle himself from a net represents Raimondo’s father, Antonio, Duke of Torremaggiore. After the premature death of his wife, Antonio abandoned the young Raimondo, choosing instead a life of travel and hedonistic pleasures. Repentant in his later years, he returned to Naples and joined the priesthood, his attempt to free himself from sin represented in Queirolo’s masterpiece.