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.
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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.
The
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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