Map of the Church

            The Convento della SS. Annunziata was built by the inhabitants of Aversa and with the munificences of the sovereigns Angioini before 1320 (date caming from a document of Sulmona). In 1423, Giovanna II of Angiò, gave the annexed church, the Ospedale of Sant'Eligio, creating so an only hospital, named the A.G.P. In 1477 the bell tower was added, never finished, and, in 1776, the arc by the architetto Giacomo Gentile from Aversa. In the 1826 the percious dome of the church collapsed; it was reconstructed lower, in 1835,by the architects Carlo Diversi and Luigi Morra. The last restaurations are of 1846.
bell tower with the arc represents the emblem of the city; formed by three architectural orders (they had to be five) of which the first, with a rusticwork of grey stone, lightly tilted, forms the basement and the others two, placed side by side by a double order of "paraste", frame fine marble newspaper kiosks. In the epistyle of the second order cloistral symbols are carved which occupy also the part of the bridge, event that demonstrates, that the arc in origin was not considered.
           Beside the principal courtyard, ancient cloister, a large and classical marble Arco Trionfale framed in the neoclassical façade, made up of a dual architectural order and terminal cornice; the whole holds up a fresco ed lunette and the marble statues of the announcing Angelo and the Vergine.

          In the epystyle a writing remembers it erected for Giacomo Mormile's will by his uncle Annichino's money. Other writing remembers the motto of the House: «Hospita sum miseris semper aperta domus».
         The portal contains allegories and coat of arms. On each side, in the basement of grey piperno, there are the reliefs of the
Creazione del mondo and the Resurrezione. The historic Roberto Vitale gave an interpretative release of it: the figures would represent, up on the left, Saturn on of a cart hauledby deers, allegory of the time; follows the Invidia and the Maldicenza that belt the head and the side with poisonous reptiles, on the right hand the figure tightens a snake while on the left hand carries a vase of fire. The only foot fortified of spur point out that the slander badly stands up and tatters all. The following relief represents the bandaged Fortune with the ears corked not to see the human events and hear the invocations. She, with the winged feet, stands on the terrestrial globe. the Power represented on a cart hauled by lions, symbol of his force, winged because descended from the sky follows. Inside the same left side there is, up, the Genio of the war and destruction, that holds an ardent torch; he has the face of a boy. The Vittoria, like the Fortune follows. The Riposo is represented by a boy that leans on on the shield: it indicates the calm after the struggle. The Menzogna with two faces and the surrounded headby a crown follows: it represents the doubleness of its mind. Going to the right up we can see the Malattia that carries a sword because it severs each human greatness. Cloto, one of the Parche, that bowls the stamen of the human life while the Death is detected, follows. Then the Fama or the Memoria, that survives the man follows.

Marble Triumphal Arc wanted by J. Mormile (1518). Annunciazione of Maria (1419) by F. Maglione. Lady among the Holy Maddalena and Caterina (beginnings '500) by S. Sparano da Caiazzo (attr.)

             Crossed the arc in the vestibule there are two renaissance portals of grey stone while in the courtyard, a portico with arenaissance staircase of mormandean style is elevated and the entry of the ancient Educandato.
            In the
Cappella of the Morti, on the right of the entry of the church, there is a beautiful ligneous Crocifisso (on restauration from 1970), barren of the left arm, caming from a private chapel of the parish of Savignano; it was retained by Parente by Benvenuto Cellini.
pronaos of the church, divided into three spans by four Corinthian monolithic columns, preserves epigraphs and coat of arms. The baroque decoration of the façade and the inside one go back respectively to the half of the XVII and XVIII century respectively.
            On the sides of the entry of the front, there are the
marble sarcophagi, on the right, by, Aloiso Zurlo (1547) Giovanni from Nola and, on the left hand, Martuccio Aversano (1615); besides, above the door of entry the statue of Carlo d'Angiò (?) stands. Going to the right of the only big nave, in the first chapel there are the tables of the Madonna delle Grazie and San Giovanni Battista (both in restauration), of the second half of the XV cent. by Angiolo Arcuccio, and a marble relief with Sant'Antonio from Padova (beginnings XV cent.). In the second, on the altar, table of the Madonna between the Sante Maddalena and Caterina (in restauro), attribuita a Stefano Sparano da Caiazzo (inizi '500), ai lati, tele del Martirio di Santa Caterina e della Maddalena, entrambe di Giuseppe e Gennaro Simonelli (1702-04); in the third, the Traslazione of the Santa Casa (in restauration) by an unknown follower of Imparato, on each side, the Martirio of Santa Cecilia and Battesimo of Crist by Simonelli brothers (1702-04); in the following cloth, a Madonna in glory among the Santi, and, on the left wall, a Martirio of San Lorenzo, both by Simonelli brothers (1702-04); in the fifth chapel an Assunzione of the Vergine (XVII cent.), on the right, a Morte of the Vergine and Presentazione at the Tempio, both by Simonelli brothers; on the left wall there is the fine marble sarcophagus by Pompeo Antonio Folgore (1623). In the sixth chapel there are the cloths with San Carlo Borromeo and the Visione of San Girolamo, both by the Simonellis; the following chapel and the frontal one present organs of the seventeenth century; inside fine forniture of the seventeenth century and a polychrome marble lavatory.
            On the right side of the trasept, on the altar, the very fine table of the
Deposizione of Crist emerges, by Marco Pino (1571), on the right wall, the Andata to the Andata to the Calvario, beautiful cloth by the Simonellis. Opposite, in the small room, there are traces affrescos of the fourteenth century. In the presbytery, on the high altar, an Annunciazione, a very precious table of school of Siena by Ferrante Maglione (1419). On the left side of the transept, on the altar, a precious work, Adorazione of the Pastori by Francesco Solimena (1698), on the right, a Strage of the Innocenti by Giuseppe Simonelli (1702) and, on left hand, Christ in front of Pilato by the Simonelli. In this wing in a right ligneous shrine a silvered and gilded bust of San Donato was safeguarded (1622) by Girolamo Pisa and Giovannimarco di Sarno.
            On left hand of the nave, in the sixth chapel, there are a
ligneous Crocifisso of '500 and two cloths by the Simonelli (1702); in the following chapel, on the altar, the Nascita of the Vergine and, on both sides, the Visitazione by the Simonellis and the Presentazione to the Tempio by Marco Pino from Siena and scholars; in the fourth, a table of San Donato on the throne ('500), maybe by Andrea from Salerno and, laterally, two cloths with the Miracoli of San Donato; in the following, an Immacolata and, laterally, a Riposo during the escape to Egypt and the Matrimonio of the Vergine, all the Simonelli brothers. In the second chapel, a statue of San Nicola from Bari and, on the lateral walls, a Traslazione of the Madonna of Casaluce and Madonna of Loreto among the Santi, both by the Simonelli brothers. In addition the Natività and the Santi Pietro and Paolo, Giovanni Evangelist and Anthonio of Padova (1545) by Giovan Filippo Criscuolo keep in the Museo Nazionale of Capodimonte in Naples.

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Artistic-monumental patrimony