S. Fruttuoso Abbey - Camogli
San Fruttuoso Abbey rises at Capodimonte, in a deep inlet open to the south, on the jagged coast of Monte di Portofino. It is framed by a rich variety of vegetation. The first monastery, of which substantial traces still remain, reveals Byzantine influences. In fact, the dome of the bell tower (“nolar” tower) of the church is in the shape of a spherical bowl. With clear ritual significance, the centre of the dome coincides with the source of the water.




A large part of the present abbey dates back to the end of the 10th century / beginning of the 11th century, to the rebuilding initiated by Adelaide, widow of Otto I. In the new church, the nolar tower includes the Byzantine dome in an octagonal “jacket”. The complex also includes single-row cloisters, against the west side of which was built a main section, perhaps used as a Chapter-house.


At the end of the 13th century, the history of San Fruttuoso became interwoven with that of the Doria family, which contributed to the building of a new main section towards the sea. In acknowledgement, the monks allowed the insertion of a family burial-chamber in a room opening onto the cloisters.
Major work was undertaken in the sixteenth century. Andrea Doria demolished the two wings, east and west, and raised the floor of the church, burying the original level. The cloisters, to which a second row had been added in the 12th century, were given vaulted ceilings.
In addition, in exchange for patronage of Capodimonte, Andrea promised Pope Julius III that he would build a tower in defence of the village and abbey. This promise was discharged by his children in1562. Decay then set in. At the end of the sixteenth century, the inside of the Abbey was divided into homes, let to local families.

The 13th century façade, after the recent restoration work, once again shows the architectural features of the Romanesque-Gothic building. The irregularity of the spans of the portico with arches, made necessary by the positions of the rocks on which the foundation plinths rest, is also repeated in the arrangement of the windows, which evidently followed the internal layout. This compositional freedom, although balanced, liberates the façade from the strict schematism of other contemporary buildings; it was almost “spontaneous” architecture.

In the restored façade, the openings – with the old wooden frames removed – have been fitted with sliding panes having an invisible structure, so as to restore the purity of the architectural lines to the triple-light windows. The roof, as throughout the Abbey, has been rebuilt with traditional materials and structures.
In the main part facing the sea, steel ties have been inserted in order to fasten the façade to the stronger structures behind. The foundation plinths have also been reinforced.
The pointed-arch, triple-light windows were renovated in the restoration conducted by the Service in 1933, with widespread use of new materials, to the pattern of the surviving ones. Now freed from the heavy wooden frames, they give a wide view of the sea and coast from inside the two museum rooms.