The Seminary was built by the will of cardinal Innico Caracciolo, bishop of Aversa, between 1711 and 1715, by Roman architect Carlo Beratti, on the area of the "old castle", beside the Cathedral.
            The fine façade erected on three levels is inserted among the northern portale of the bigtransept of the cathedral and Castello road. Crossed the entry from the classical portal, on the ligneous door of the vestibule an interesting clipeato San Michele emerges; the inside of the seminar is characterized by a harmonious rectangular cloister, with a double order of harness of which the second, with false perspective frames, creates tonal effects tonale mulating Roman surroundings according to Bernini of Barberini palace. On the left hand a marble epigraph of republican age is walled. On the right the Scalone of Onore we have access to the room of the Refettorio, now an auditorium; in this room the pictorial cycle of the desecrated Chiesa of the Carmine, six cloths and a Cena in Emmaus are are kept. The paintings, exalting the Ordine Carmelitano, constitute an important collection of paintings.
            On the bottom wall, a Cena in Emmaus of a demurian Unknown. The work is inspired to the compositions of Venetia and, for the strong tonal contrasts, it comes back to the first decades of the XVIII cent.; on the left wall, the cloth Madonna' the bambino and the Santi Carmelitani Angelo and Alberto from Messina by Episcopo (1796), afollower of the Stanzione. The painting, with the soft passages of color, reminds the academic painting carraccesca.
            The cloth that follows, of an Unknown (end XVIII cent.), San Barbara, San Biagio and San Emidio, is of demurian style. On the opposite wall, a Madonna with Bambino and the Santi hermits Anthonio and Paolo and Paolo of Tarsus (Unknown end XVIII sec.). A religious cloth, Santa Caterina of Alessandria and Santa Lucia, of an unknown author (XVIII-XIX cent.) follows. To these in the opposite front of the entry, two big cloths, a Crocifisso with the Santi Angelo, Carlo Borromeo and Francesco of Paola and a Madonna and Santi in the glory, both by Nicola Mensele, a painter of Calabrian origin follower of the school of Solimene follow.
            Returning to the Scalone of Onore, realized, maybe, on a sketch of same Beratti, in origin it presented stairs of grey piperno that better were toned to the white of the baluster. On the first landing there is the fine marble group of the Madonna with the Bambino, on a Corynthian capital given the bishop of Teano to the diocese of Aversa; the group, that overtops it, is the only fragment of the gravestone of Matilde of Acaia, deceased in Aversa in 1331, made by Tino of Camaino a year later. On the same wall a portrait of Cardinal Enrico Caracciolo, of discrete workmanship, is put.
            On the other walls of the recession of the staircase, Sant'Andrea, that is inclined with San Pietro (of the adjoining recession). They are works of tasteof Fracanzano of great plastic vigor. In the Decapitazione of Battista, of an Unknown of the the 600s, ways of late Tuscan mannerism are recognized. Beautiful and fairy is the figure of Salomè.
            The following cloth, Madonna of the Rosario and Santi Domenicani is maybe Paolo de Majo that so much has worked in Aversa. The composition scheme of the end of the sixteenth century is characteristic of the stories of Maria and Jesus.
            In the adjoining room besides the already remembered San Pietro there are the Pietà and Franciscan Santi, of an Unknown beginnings of the 700s, in Polo de Majo's style, and the Madonna col Bambino, Santa Chiara and other Santi, of more solemn execution than the precedent.
            As soon as left the staircase on the right wall there are some portraits of eminent men of the seminar: cardinal Innico Caracciolo, of an Unknown (second half of 1700), similar to the oval of the gravestone of the cathedral of Anthonio David.
The second is of cardinal Francesco Morano, a pupil of the Seminar, of discrete execution; the third, of monsignor Carlo Caputo; the fourth, of monsignor Francesco Vento,all archbishops from Aversa. On the bottom wall of the corridor is situated a marble fountain of the second half of1600 is situated and, on the back, a marble sarcophagus with the bust of Christ, of Madonna and San Giovanni, half of the XV century.
             In the middle of the corridor, on the right, we have access to the Cappella of the Seminario; the organ is collocated in the opposite front (end XVIII cent.). On the right wall, a painted bust of Madonna by Andrea Vaccaro and, in front, a ligneous Christ (end '700).

            The great hall constitutes the real gallery of the Seminar. On the right of the entry there is the painting on table the Assunzione of Vergine, of an Unknown painterof Urbino of the second half of the XV century. The work that follows, the Pietà, is of a great tonal effect (first half 1700), it remembers the style of Ribera. On on the right wall there is the big cloth with Madonna and Santi. It is a work ofextraordinary beauty for the composition plant and the hot tone of the colors by Paolo De Matthejs (1720). On the opposite wall at the entry the painting, Madonna, Bambino and the Santi Cornelio and Biagio (beginnings XVII century) by Abraham Vinchk.
           Going on we have the cloth of the Deposizione of Cristo that follows schemes of the sixteenth century, a probable copy by Fabrizio Santafede (first years 1600): the colors and and the shading contrasts are harmonious. The following painting, by Gerolamo Cenatiempo, Rinnegazione of San Pietro (1724), is of great artistic interest. The Annunciazione by Giovanni Angelo Crisconio, of 1597, follows the Flemish culture. On the left hand, the small cloth of the Trasfigurazione of 1597, follows the Flemish culture. On the left hand, the small cloth of the San Gerolamo nel deserto, beginnings of 1700. The work that follows, Presentazione of Gesù at the Tempio, maybe by, goes back to the first half of 1700.
            In this room besides there were two tables by Angiolo Arcuccio, the Martirio of San Sebastiano (1468) and Madonna with the pomegranate (both in restauration), of these the first is particularly important for the presence on the background of the bird flight outlook of the town of Aversa.