Chiesa of Santa Maria a
albeit retained the most ancient of the town, appears in the
officials documents only in the half of the XII century.
This (in the actual release, after it was erected to parish)
shows the planimetric plant similar to San Nicola's, San
Giovanni Evangelista's and Sant'Andrea's, that is to say
with three naves (in the city the parishes only had the
privilege of the three naves).
restauration, begun in the Fifties, has never been
completed: the crypt was not reconstructed, the flooring was
not built to the original level, and some frescos were
brought no more in
church probably rose in the XI century, at the crossbreed of
ancient public streets, as a chapel of the homonym burgh or
of Orlachia, outside the urban walls, among the churches of
San Giovanni Evangelista and San Paolo, with a simple
diagram: a small nave with a semicircular apse. Also the
bell tower, that was never completed, is of same period;
still of that period are some traces of the pulpit
and the ancient Sagrestia with the barbaric symbols.
the fires of 1135, that damaged many monuments in Aversa, it
was necessary to reconstruct and widen the small church; two
lateral naves and the spans opposite the central one were
added. The presbytery, even getting widen, will preserve
externally a narrow passage delimited by the west tower of
the new castle.
dome, with the octagonal segmented dome cladding, that hides
cells inside, and the two semivaults, were built in the
XIV-XV century. The interesting architectural appearance,
born from the joint of the volumes, will emulate that of the
cathedral, once it also with three domes.
the extreme lunettes of the façade there are two
faded frescos that represent, on the right,
Caterina Vergine and Martire,
and, on the left, the Madonna
con il Bambino.
the central nave a portal coincides to whose summit a marble
Agnus Dei is inserted. Inside on the right wall is a demure
fresco by Giotto, the Crocifissione
di Gesù con la Madonna, San Giovanni Battista, San
Nicola di Bari, San Giovanni Evangelista, aching Angels and
a benefactor woman
(second half XIV century).On the pillar of the font, a
of San Benedetto follows,
within cavallinian compass; on the second pillar we can find
a fresco, the Madonna
in trono col Bambino
(sacred conversation), by Francesco Cicino da Caiazzo (end