Decumano Superiore - Via Anticaglia

From "vico San Gaudioso", passing by "largo SS Apostoli" up to Piazza Sant'Anna a Capuana, the "decumano superiore" is integrating part of the greek-roman city. For Sure the most important part is the one of the "Duomo"(the Dome), where is possible to admire the "La Cappella del Tesoro di San Gennaro" (protector Saint of the city), the archaeological complex of the Dome and the same Dome, classic example of historical stratification. There are also the Archiepiscopal palace and the former convent of the SS Apostles. Even here the frame, typically Neapolitan, will not lack to astonish you and to fascinate you. In this decumano there are also the rests still visible of greek-roman Naples, all of them have been used in the middle age and modern structures: among these there are the rests of a roman theatre, just visible for the presence of an arch near "Largo Avellino" (other rests are present in the courtyard of the near palace); in this theatre Nerone sang because he wanted to be admire by a greek culture public, as it was in those times the Neapolitan. We have to notice also another structure in Via Carminiello ai Mannesi, used since the antiquity uninterruptedly, through the Middle Ages until our days: in the '90 it was used as illicit stable of illegal horses for race managed from the racket.

Here some of the admirable wonders of this "DECUMANO":


The monastery of Santa Maria di Gerusalemme, with the annexed church of the Manger, become in the 1539 center of a group of "cappuccino",it was said of the TrentatrŔ (thirtythree), from the number of nuns that could be accommodated in It, and obvious call to the years of Christ. The nuns belonged to a order of recent creation, the order of the "Francescane del Terz'Ordine", wanted by San Gaetano of which he was the founder and Maria Longo, who created the "Ospedale degli incurabili". In 1585, pulled down the original church of the Manger during the construction of the chiostro, was erected a second church, demolished in 1600 to make place to the church of today. The inside of the building, extremely simple, conserves a decoration of XVIII century. On the greater altar there is a table of XVI century that represents the "Presentazione di Ges¨ al Tempio" framed in a wooden crown of late-baroque taste. Of the same age the "Presentazione al Tempio di Maria", placed up on the eardrum. In the entrance hall of the monastery there is a cycle of frescoes by Andrea Malinconico (1770)


During the 1611 four Neapolitan nobles, amon Them Ippolita and Caterina Ruffo, who moved in the convent of "Santa Maria degli Angeli", renaming it with the name of "San Giuseppe". During the the 1669, the church wich was already there, was pulled down and the costruction of a new one began under the direction of Dionisio Lazzari, who did not finish the job, interrupted during the 1674. The facade was finished during the beginnings of XVIII century by Guglielmelli Arcangelo, who built up the porch with the double flight of steps made of marble. The shape of the inside is "Latin cross" with a "cupola". There is also a rich baroque decoration, whose design is attributable to the same Lazzari. The frescoes of the "cupola", representing the "Triumph of Saint Giuseppe in Paradise", is a work of Francesco De Mura (1741).


The first testimonies of a convent of San Pietro del monte di Donnaregina go back to VIII century. The original church was damaged by the earthquake of 1293 and was Maria of Hungary, wife of Carl II d'Angi˛, who financed the new construction. The jobs finished in 1316 and marked the affirmation in the reign of the order of "San Francesco", in coincidence with the adhesion to it of the two sons of Maria, LudovÝco and Roberto. The two sons are represented on the splendid monument of the mother, made by Tino da CamaÝno and Primario Gagliardo. In 1390 a big fire destroyed the woodden roof. In the following century serious damages were produced by earthquakes. In the XVII century the nuns constructed a new church, Santa Maria di Donnaregina Nuova, because it was now possible to open the income door on the wide in front of the episcopal palace, in position of greater prestige. In the 1861 monastery was closed and the wing of the convent had many changes in order to increase via Duomo. Between 1928 and 1934 were lead the imposing restoration.


Made in the XVI century near the "Porta Capuana" as small chapel governed by the friars of the near convent of San Francesco di Paola, the church was widened during the centuries. The event of radical restructure, that gave to the building the aspect of today, was realized by the architect Giuseppe Astarita in 1751. The inside is of circular shape, with one nave and lateral aisles. Particularly interesting the apse with a singular altar, situated to a higher level, which it is approached through one double flight steps. In the space below the altar, currently used as a sacrestia, there was the chorus. On the "cupola", an oval framed of putties, there is a table of XVI century, representing the Sacred Family with Sant'Anna, attributed to Marco Cardisco. Paintings of XVIII century, made by Giovanni Cosenza and Francesco Narici, adorn the aisles of the church. The two organs were realized in the 1753 by Carlo and Nicola Mancini.


The building is on via Carbonara, name that derives from the term used in the Middle Ages in order to indicate the place destined to collect the refusals outside from walls. Its foundation is work of the generosity of the nobleman Gualtiero Galeota (1343). In the first years of the XV century the church was rebuilt up by the monarch Ladislao di Durazzo and in the following centuries it was modified, the last and more important modification in the XVIII century. Monumental flight of steps leads to the church,work by Ferdinando Sanfelice. Currently you can enter in the church from a lateral income. In the inside,rectangular plant, stands the "mausoleo" of the king Ladislao, rich of allegorical figures, realized between 1414 and 1428. Behind this monument there is the "Cappella Caracciolo del Sole", with the monument of Ser Gianni Caracciolo, great lover of Queen Giovanna. On the walls there are frescoes of the school of Giotto with scenes of life of monastery and the birth of the Vergine.


The jobs began in the first quarter of the XVI century on plan of architect Romolo Balsimelli and they were concluded in 1593. The inside" Latin cross" shape with one nave on which the aisles are opened. On ending of the XVII century, the nave had radicals changes that, also not modifying the original lines, overlapped scenes of more modern taste.


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