Parish of the Ascension

To the parish

Mugnano possesses in the perimeter of its inhabited area seven chapels and churches but for antiquity it is convenient for us to say first of all of the Church of the Ascension

This erected on the edge of a mountain slope, which briefly insinuates itself into the town and therefore is located in a high point to dominate the whole district. You go up to a first large and comfortable staircase in Vesuvian stone, closed by a well-worked iron gate.

The first staircase stops at a rectangular atrium introduces you to the sacred vestibule, located between south and west.

With a single nave, 90 palms long and 42 wide, it is very high and very bright due to the large windows that surround the two sides, but it seems incomplete, because it does not have a dome or other finishing on the outside.

The factories are of very good construction resisting the centuries, forms the most beautiful value of the works of the Egyptians, so we can see that this august great temple is in this way, which seems to be built with all the rules of architecture.

The height of its floor confirms an ancient tradition that, says that the current building was built after the first foundation of the town on top of another smaller church already existing there and then left for burial.

The tradition took on the character of historicity from a Bull of Pope Leo X of 1518, with which he accepted from the Bishop of Policastro the review of the Commenda he held of this Church of Mugnano, to then pass it on to the Annunziata of Naples. Finally, in a Prammatica by King Charles, the title of Santa Maria dell'Ascensione is given.

From this it can be deduced that the first Church desired by tradition was erected under the title of St. Mary, and the new one, built on it, of the Ascension. Then placing the old before the new, or the first with the second title, it was called the Church of S. Maria dell'Ascensione.

From all this it seems to be possible to believe that the first church of Mugnano, probably built by the first meeting of the participants from Litto, Campigliano, Pontemiano was dedicated to the SS. Virgin under the simple name of St. Mary, in later times then, the present was built on top of the old one, remaining however this to form undergrounds, they believed to put the new one built under the protection of the Ascension, and in memory of the first building, they made it preceded by the name of Mary, who then with the passing of the centuries, having forgotten the first origin, only the name of the Ascension remained.

This Parish contains eight Chapels with Altars. The first rebuttal on entering is the Major; with behind a painting on canvas representing the Ascent of Christ to Heaven, with Saints and Saints, with the Virgin Mary, in different attitudes of amazement and reverence. Originally this painting was supposed to be beautiful, because it was the work of the famous painter Tommaso Montella but around the year 1830, a certain Nicola Desiderio da Sarno came to restore it, he painted it all and spoiling the figures scarred it, as you can see, from beautiful and precious what was excited today to laugh at the twisted positions of the characters.

The altar that is in front of you is of a very singular beauty and value. You go up to the white marble dais, by three steps similarly made of mosaic stone in large pieces. On the two opposite sides, after the table, there are two vases with flowers of such vivid colors, that you would stretch out your hand to pick them, birds so natural, which seem to move, the mother-of-pearl carved with well-arranged flowers, which descend in the midst of so many beauty. This altar can be defined as the most beautiful work of the famous painter Abate Andrea Belvedere. Long garlands of similar flowers adorn the two steps; the Polygonal Tower overlooks the Custody.

These stupendous works, from the black background where they are placed, receive a prominence and prominence that surprises. Of beautiful sculptures are the two heads of cherubs in white marble that form the capialtare, as is the tomb in relief with the Holy Spirit on the dark red marble palliotto.

This altar adorned the Church of the Dominican Friars in Nola, in the Convent called S. Spirito, located on the edge of this city, between east and north, but cleared for the first suppression law, issued in the early years of the coming century, a commodity the commitments and care of our fellow citizen Don GB Rega, then Provincial Councilor, was obtained from the Government, which had remained the Church, this beautiful Altar.

The Municipality entrusted the care of the transport of it, in addition to two manufacturers and a marble worker, again to three delegates, in order to supervise this very delicate work entrusted to them.

The three delegates were the Sac. Fr Giovanni Canonico, the professed lay Augustinian Discalced Felice Miro, finally the then young Fr Pasquale Bianco di Paolo.

Beside the Epistle of this High Altar is a square Chapel.

On the wall in front of it hangs a Crucifix of more than natural size, and although of papier-mâché, also very well done and natural, this is called the Chapel of the Crucifix.In front of it there is an Altar, the palliotto, the sides or sides of it form the second gem of this Church.

Everything presents a baroque of flowers of various colors, time has almost dulled the vividness. We also believe this altar, first in another site of the said Church, was dedicated to the Souls in Purgatory, because on the side of the Epistle there is the Virgin of Sorrows

In this chapel the SS. Eucharist, and it is said that the walls of it were all historiated with beautiful allegorical figures, painted as a fresco 'to instill in the hearts respect and veneration of the consecrated Host, but in the restoration done to the whole Church in 1818 it was believed to be whitened the walls and so erase everything.

In the times of Feudalism this Chapel was governed by three Treasurers: one under the jurisdiction of Loffredo and two by the SS. Annunziata di Napoli, who designated there an ad nutum chaplain who was obliged to celebrate two Masses a week.

It then owned, called the Chapel, several pieces of territories, woods and even a tavern in the Strada degli Archi ', with the law in force this was sold, and now it is a house of details.

In front of this Chapel and the part of the Gospel of the said High Altar, there is another similar Chapel. On the bottom there is a painting, in oil on wood representing the SS. Annunziata and the Archangel Gabriel, on clouds the eternal Father and other accessories. The whole is of such finesse and symmetry, that those faces fill your heart with sweetness and from the attitudes they push the spirit to veneration.

Guadagni 'attributes this beautiful painting to a famous painter Fabrizio Santafede - born around 1560'. In front there is an altar of good colored marble with two upper steps, at the foot of the palliotto it bears the inscription: «Deiparae Virgini ab Angelo salutatae D. For family vetustum Sacellum Elegantiori Forma Januarius De Gennaro sibi Suisque PAS MDCCCXVIII». This chapel was built by the parish priest D. Giuseppe REGA in 1818 and the altar is the patronal right of the De Gennaro family.

Before then the painting was located on a factory altar, which was in line with the chapel, also under the patronage of the De Gennaro family, in the space that now occupies the chapel, there was the Sacristy. To make the cruise typical of ancient churches, the said chapel was built at the expense of the patron, then living, D. Gennaro De Gennaro °.

Then the Sacristy was reduced and De Gennaro built the existing marble altar at his own expense, as the mentioned Latin inscription still proves it.

After the De Gennaro family was extinguished, this right passed to the heirs of part of the women, now divided into three families. Two of them, not wanting to contribute to the maintenance of the chapel, have abandoned the patronage, exercised at the present only by D. Biagio SIRIGNANO, who made the floor, the windows and many other improvements and maintains the altar and solemnly celebrates the religious feast of March 25th.

Even today (1986) in the center of the chapel there is the opening of the underlying family tomb with stone in white marble, which shows the family crests with the following inscription:

TRIGEMINI FRATRES SIRIGNANO

BLASIUS - NICOLAUS - GREGORIUS

MORTALITATIS NON IMMEMORES

SIBI SUISQUE

SEPULCRUM HOC

PONENDUM CURARUNT

MIRUM SONUM NOVISSIMAE TUBAE

HEIC IN PACE EXPECTANTES

ARS MDCCCLIX

More than one urn rests today only Fr Gregorio and a few bodies of children of that family.

On the right side of the Church, after the Chapel of the Crucifix, is that of the Conception. There is a picture on canvas restored and damaged like that of the High Altar, but Guadagni makes honorable mention of it, as an excellent work in his time '. Below there is an altar of wood, which although corroded by time, yet beautiful for the carvings and the ancient gilding.

This chapel is under the patronage of the Congrega of the same title, placed behind it, where the Pious Gathering of the Immaculate Conception was founded ".

In the following arch there is a large painting of the Madonna delle Grazie with S. Giuseppe and S. Francesco di Paola, underneath there is the confessional. In ancient times there was a wooden altar of Patronal Law of Dr. Fisico Michele BIANCO, not having left any children he went into the possession of one of his nieces.

Further on there is a chapel dedicated to the Virgin of the Rosary with a too rough picture, an altar in loudly painted wood, all from 1835 by a certain Raffaele PETITTO da Castelvetere, certainly a painter of Bacchanalia.

Guadagni tells us that in his time a Pious Con-fraternity was installed there under the title of Frs. Dominicans of the Monastery of Durazzano, 1592. However, we have not been able to have any confirmation on the veracity of this assertion ".

The fifth and last chapel on this side is dedicated to S. Lucia. There is a good old picture with the Madonna della Sanità, S. Biagio and S. Lucia. Since ancient times there has been an altar in this chapel under the patronage of the illustrious FRANCHI family, we can read clearly on the painting D. Fabri¬zio Franco, with the addition of a new inscription:

RESTORED IN 1850 TO DEVOTION OF THE SPOUSES

MR. D. GIAMBATTISTA BORSELLI

AND D. MARIA ANTONIA VERRENGIO "

which extinguished, with it the altar ended and the painting was withdrawn by the FIORILLI family, relative and heir of the FRANCHI family, only about twenty years ago the altar was rebuilt in the factory at the expense of the Parish and the painting restored at the expense of the heirs I flowered.

From the right passing to the left side, that is to the Gospel, and precisely after the chapel of the Annunziata, there is a chapel with a painting on canvas and of a good school, with the Redeemer, S. Giovanni and S. Lorenzo; under altar in white marble. but of too simple sculpture and roughness of marble. This chapel is under the patronage of the REGA Family.

In the third there is a large rectangular canvas painting, representing the Deposition from the Cross and under a Confessional, as in front.

Guadagni says that in his time here there was an altar of patronal right of the PETRILLI family.

Finally, in the space of the fourth arch there is a rather cheap painting with the Assumption; under wooden altar.

In ancient times a simple benefit was attached to this chapel, we do not know which family it belonged to. Guadagni himself assured us that in his time this right was enjoyed by the Most Rev. D. Carlo MASUC-CIO, as can also be read on the sepulchral stone placed in front of the floor, with the following inscription:

D. CAROLUS MASUCCIO HANC SEPULTURAM

FIDELIUM ELEMOSINIS

CURAVIT

AD MDCLXVII

According to the description left to us by said historian, there are now three altars in this church that previously existed with related paintings: two dedicated to the Virgin of the Arch, the first of patronal right of the MASUCCIO family, the painting that existed there must have been beautiful, because it was the work of famous painter Giovanni D'AMATO, who died in 1598 "; the other located behind the door, under the patronal right of Gennaro BIANCO; and finally the third chapel with a Crucifix in relief, which was administered by three Deputies, one for part of the LOFFREDO and two of the SS. ANNUNZIATA, as another that we have described of the CRUCIFIX ''.

This church has three statues, two ancient and one modern. The first of the Apostle St. Andrew in wood, somewhat damaged due to bad restoration, the second of the Rosary, dressed in a rich mantle embroidered in gold; the third of S. Lucia VM, ordered by the deceased parish priest D. Andrea REGA and at the expense of the faithful around the year 1858. It is made of wood and of good value.

On the entrance door there is an organ, not despicable, with ten registers. It was also obtained through the aforementioned D. Giovambattista REGA, then Provincial Councilor. After the first suppression law, the Verginiano Monastery of Marigliano remained empty, he brigated to the Government and obtained it for our Parish in the year 1818. It was transported under the care and supervision of the three aforementioned individuals, who brought us the Altar, that is the CANON, the MIRO and the BIANCO, at the top of this instrument the coat of arms of Montevergine stands out.

At the time of Guadagni, around 1686, on the entrance door there was an organ with nine registers, for which, four years earlier, 400 ducats had been spent, without saying by whom, 400 ducats.

This parish has its Baptistery, however rough and of no value, there is no other memory than "D. Alessandro Di Lucia 1715", pastor of the time.

Finally, on the tower or bell tower, of the same height as the Church, located to its left, there are two bells. The largest of about six cantari, and is marked: "AGP ELECTORUM, AD 1726" as well as a few other insignificant words. Those reported, in our opinion, indicate that said bell was made at the expense of the University or Municipality of Mugnano, (Electo-mm) at the expense of the Annunziata plant in Naples.

The other smaller one indicates only the maker "ROSSI" who cast it in the year 1824.

To keep this factory in good condition, you often need serious repairs. The oldest that we find mentioned in the book of the Dead is from the year 1464 ", which book, now lost, brings this information back to art. IX part I. The re-enactment that all the villagers remember with all its particularities is that in 1818, when the altar, the organ and the chapel of the Annunziata were placed there, all done by the parish priest D. Giuseppe Maria RECA. Then in addition to many restorations, the stucco was again given to the whole Church . It had to bear this expense at the Annunziata Establishment, because it had taken possession of the goods of that Church, but not having wanted to contribute even in part, the whole Municipality paid it, and therefore had its coat of arms made at the top of the arch, that is, the crenellated tower that was not there before, as a sign of its right of patronage.

In 1858 there was another general repair and embellishment, the Municipality spent the sum of over 2000 Ducats there.

In this repair, however, a great vandalism was committed, indeed a crime, the large wooden frame that surrounded the painting of the High Altar, a grandiose and beautiful work of the century, was removed. XVI, adorned with four statues in the wood of Saints Hermits and as many small ones in the niches. We remember only two, that of S. Sebastiano and S. Michele, still exist today - 1986 -. Close to the picture (in the margin of the inner edge) there was a large band with the heads of Cherubs very well carved. Only the gilding, due to age and neglect, had all been lost, but having redone the very few broken carvings and painted white with only a few gilded trims, a beautiful work would have remained in that Church, worthy of that Altar that was at the feet.

On Tuesday, February 17, 1873, the last of the carnival and last of the Forty Hours, the Procession went out by costume and there were only women left in the Church to receive the Blessing on their return, the parade of the cona began to ignite, due to the carelessness of a man who lit candles. . The Church suffered little damage, having burned a flap of paper that covered the canvas of the ceiling only. This was not the case with the people, who, terrified at the sight of the fire, crowded to the door to escape, so that the entrance was blocked and six people were crushed in the crowd: three young girls, two married and a child. To repair the fault produced on the ceiling and the other minor ones, the Municipality spent there (in the last year 1875) over 2000 Ducats, making the Church much more beautiful in the paintings and in the chiaroscuro.

This Church has only one daily Mass, left by the late Pio Marchese D. Fabrizio D'IPPOLITO, with very few legates for the "pro tempore" parish priest. The celebration of the many Masses of the Congrega dei Prieti is established there, therefore the five or six Masses are not lacking every day.

Having finished the material description of the Church, it is worthwhile to narrate the events to which the Spiritual Jurisdiction of the parish priest was subject.

When Mugnano passed from the dominion of Montevergine to that of the Annunziata, we find that the parish was already erected in "Commenda", but without knowing from when or how, it was enjoyed by the Bishop of Policastro, whose name is also silent, and he too resigned it to the said establishment in 1514.

Friar Antonio CELENTANO, a virginian monk, perhaps at the time Eco-nomo, presented the inventory of the Church's revenues to the new Patron, who took possession of it ".

With the instruction of Notar Antonio Rossano of Naples, dated 15 June 1530, the Administrators of the pious place, then Dominicantonio CRI-SPANO, Pietro de STEFANO and Giovanni FEULO, appointed the said Ce-lentano Prior 'of the Benefit of the Ascension of Mugnano , of its Grande 'formed. from the churches of Ouadrelle, S. Pietro a Cesarano, S. Silvestro and S. Liberatore, however, contravening the established conditions, they could dismiss him ".

From this it is evident that that Pious Establishment had the right of appointment ', and that the investor was not so in perpetuity' but 'ad nutum', and finally had the title of Prior 'or Rector' or 'Curate Vicar', as we will say, and that the Church of Ouadrelle was united to that of Mugnano. From our historians we know that in the Church of Quadrelle the SS. Eucharist, and when it had to be administered to an in-firm, the parish priest of Mugnano sent a priest, who after the celebration of the Holy Mass took it to the sick.

In addition, the said parish priest went to celebrate the Solemnities with the Sacre Fumioni, thus exercising the entire parish jurisdiction there.

As the number of inhabitants of Quadrelle increased, there was a need to make up for so much lack. The Professor of Law Ovidio BARILE, son of the Giureconsulta Luca, a native of that land, worked vigorously for the constitution of the parish priest, and with the support of the Bishop of Nola, then GB LANCELLOTTI, the installation Bull was obtained from the Pontiff of the new Parish 'in Quadrelle, divided, independent from that of Mugnano.

However, the appointment of the parish priest was devolved to the Establishment of the Annunziata in Naples. From this moment on, the University was obliged to pay its 'parish priest' annually the sum of 15 Ducati, for the expenses of worship and for his accommodation; this was carried out by the Instruction of 29 March 1619. From this we must consider this subtraction from the Parish of Mugnano

In 1741 the Bishop of Nola - Troiano Caracciolo del Sole - believed that a single parish priest was insufficient to administer the Sacraments to Mugnano and to the Cardinal, because the population had grown considerably. He expressed his division at the University of Mugnano, after the old parish priest died, this gathered in the council and approved the Bishop's proposal. For this purpose he sent to Messrs. Governors of the Annunziata question this object, because they are Patrons of the Land of Mugnano.

They also nodded and the Bishop then made the division of the people, fixing the first parish priest in the ancient Matrix of the Ascension, and the second in the Church of Saints Philip and James. assigning him the Cardinal and a small part of Mugnano, also dividing the rent, with the corresponding weights.

The Governors of the Pio Establishment appointed Sac. D. Giovanni Giacomo DI GENNARO: approved this choice, the Bishop gave him the Canon Possesso on April 21, 1742. For the second Parish then the Governors appointed the Sac, D. Nicola DI LUCIA, but having formally renounced it, they appointed the Sac. D. Giannantonio Noia.

He too, it is not known why, gave up and the appointment fell definitively on the Sac. D. Liberato MONTUORI, to whom the Bishop sent the Bull of Possession on May 12, 1742.

After a few months, however, the parish priest of the Mother Church began to send complaints to the Sacred Congregation of the Council, as well as to the King's Majesty, for the division. which he called unjust and therefore the ancient parish to be re-established. with the abolition of the new one. We do not intend to enter into the merits of the sensational quarrel, but we will only narrate things as the historians' tell us to have happened.

Called into question the Establishment of the Annunciation, as Patron, those Governors exhibited the 'Bull' of Pope LEONE X of 1518, with the evil he invested the Pious place, after the resignation of the Commendatory Cardinal D'ARAGONA and that expressed in said Bull 'of the Bishop Poli-Castrense. with which the Parish of Mugnano was "incorporated", with the other Churches, benefits and related annuities. with the sole obligation to keep a "Vicar Curate" removable at every sign. reserving the most of the income for the maintenance of the Hospital of the Pious Place. Presented this document to the Majesty of the King, according to the custom of those times, it was decided by the same on December 27, 1749 that the parish priest of the Church of the Ascension could not interfere in the administration of the goods of that Church and therefore the division made by the Bishop, and therefore from that moment only the title of "Vicar Curate" was given, removable "ad nutum", the same title was given to the second who resided in the Church of Cardinal.

Behind this sovereign disposition, the Bishop on January 15, 1750 issued a regulation which was solemnly accepted by those two "Vicars", with which it was ordered that both of them use their jurisdiction without distinction for the whole Land of Mugnano and Cardinal, without difference during their lifetime. Thus ended the sensational quarrel after eight years' ".

Once these two "former parish priests" died, Vicari Curati, the Annunziata Plant continued to appoint you only one Vicar or Rector, removable 'ad nutum', as can be seen from the Baptismal Books of the Parish.

But over the years the Pious Establishment began to abandon this Church. both for the income impaired by the events of the times, and to make up for other charitable expenses, in the end he left it totally.

The Municipality then had to provide, starting at the same time a judgment against the Establishment, to leave at least the income, but not having looked after it well, everything remained suspended.

In 1808, having been elected the Rev. D. Giuseppe Maria Rega of the PP. of S. Pietro in Cesarano, was able to assume the title of "Parish Priest", no longer opposing the capricious administrators of the Annunziata. To the new parish priest the Municipality assigned the annual maintenance of Ducati 120, so this check appears for the first time in the budget of the Municipality of 1814 ".

As the population grew, the Municipality, a few years ago (before 1875), found itself in the need to give more help to the parish priest and fixed the salary 'for two treasurers' dependent on the parish priest for the service in Mugnano, a third, but independent, for Cardinal, in the title of Curate Bursar, as is practiced in the present.

1st Commenda

The word "COMMENDA" comes from the Latin "commendare" to entrust a thing as a deposit. Therefore, giving a Benefit 'or a Church' by way of Commenda was the same as giving such a Benefit or Church in custody, in deposit.

In this sense, the Commenda is of very ancient origin. In the early days of Christianity it often happened that churches remained vacant for which a Rector could not be appointed immediately, both because the places where they were founded had been occupied by enemies, or by heretics, and because the Churches themselves had been destroyed.

The Commendatory, or the investor, could not freely dispose of the goods and the fruits deriving from them, but was required to keep them for the Rector who would later be appointed.

Over time, the Commenda began to be granted, not only to administer it, but also to be enjoyed. This was when the Bishop. o Cleric was forced to abandon the Church entrusted to her care. In this case he was entrusted with another benefit to administer, until he returned to administer his legitimate one.

We read that Pope Leo TV erected Commandments in favor of Ecclesiastics expelled by the Saracens from their benefits.

St. Gregory VII did the same, when the Lombards devastated Italy. Clement V established Commende for life. Other Popes granted them to lay people who were powerful by authority. dignity and wealth (Popular Encyclopedia).

2nd Commendatory

Commendatarius, in Canon Law, was used to mean "ECONOM" of vacant ecclesiastical benefit. Ordinary administration that could be had no more than six months, but many times the Commenda was given to such a man or Bishop. who administered many Dioceses together, while he was the holder of only one. By prohibiting this abuse by Canon Law, the fallback was made to appoint the titular Bishop of one and at the same time Commendatory of others. (Popular enc.).

So called, in the early days, the Vassals subjected to obedience and taxes according to that from the beginning "commendabantur", that is to say they invested themselves in a fief for life. They also said "Commendati". those who placed themselves under the tutelage of others to be defended, subjecting themselves to a tribute (Enc. popol.).

3 ° The Establishment of the SS. Annunziata

The Establishment of the SS. Annunziata di Napoli, so beneficial, arose, like all other pious works, out of devotion and slowly.

The Germans Giacomo and Niccolò SCONDITI, noble Neapolitan lawyers, had the misfortune of falling prisoners of King Charles II, for seven years they lived a painful life in the Castle of Montecatini in Tuscany. Saddened for so long to suffer, they made a vow to the Holy Virgin. Announced to build them a chapel in Naples, if he had freed them from such painful imprisonment.

In their sleep the Virgin appeared to them and assured them of the grace that she would give them.

Shortly after, they miraculously regained their freedom, and when they returned to Naples, it was their first thought to build the promised Chapel. The chosen place was owned by the archbishop Giacomo GALEOTA, friend of the SCONDITI, therefore at the request of the Germans, he donated the site and immediately the pious Germans had the vowed little church built there in 1304.

The people ran to pray to the Virgin, who dispensed graces, heavenly favors. After a short time, a Confraternity was established there, called the "BAL-TENTI RIPENDITI", the main exercise was that of flagging the meat to blood on Thursday and Friday of Holy Week, running for the visit to the sepulchres, a custom that ended with the fall of the past century, changed into a burden of charity and charity.

Queen SANCIO in 1324 built, at her own expense, next to the church, a monastery for women, dedicated to St. Mary Magdalene. To then spread his charity, he asked and obtained from those confreres in 1343, to build a church and a small hospital, which he later enlarged.

The administration of these premises was entrusted to the Confraternity of the Rependiti until 1339, then a Commission was created chaired by a "Cavaliere del Seggio di Capuano", called "MASTRO NOBILE" with four gentlemen of common families, who said they were "GOVERNATORS ". They were elected from the seats of the people, two more «DOT-TOR T» and two «MERCADANTI» were appointed, the Royal Government was not present in this administration.

Examining the many and serious inconveniences that occurred for the clandestine births, the Administrators thought of founding a shelter for abandoned children. The work was immediately set in motion, which proved to be of immense pride for so many poor abandoned children.

In 1411 Margherita di Durazzo, mother of Ladislao, donated the city of Lesano to this charitable establishment, this city was the first fiefdom assigned to the pious Institute.

There was no lack of Lords and Nobles from all over the Kingdom, who with money and fiefs enriched the Holy Church, which in a short time became very prosperous.

Queen Giovanna II in 1438 had the entire building restored at her own expense and endowed it with many other properties, she united other hospitals to that of Annunziata: the Hospital of S. Andico. of Santa Maria della Pietà. The Governors divided the sick into two classes: feverish and wounded, all of which proved to be of great benefit to the needs of the population of Naples.

A Pharmacy was opened for the needs of the various charities, as well as to help the poor infirm of the city. The hospitalization of the children improved, their education was thought of up to the seventh year of age. A monastery was built for the young girls who decided to retire and consecrate themselves to God.

Due to the exorbitant incomes, it was decided by the Governors to open in 1587 a bank of deposits and loans to the poor with the slight interest of 4%. If it turned out to be a charitable work for the poor, it was however a very harmful initiative for the "Banco", because from 1590 until 1656 a large quantity of goods, silverware of the Church had to be sold to realize the sum of one million Ducats. to repair the many scams suffered.

Founded the Hospital of the Incurables, all the sick of the Annunziata were transferred there, the hospital was closed and shortly afterwards the Loan Banks were also abolished.

With these norms the beneficial Institute was governed from the foundation, in 1339, to the foreign invasion, which took place in this province of ours.

In 1809, with a decree, all the children of the Charity of Naples were united under a single administration, in 1815, when King Ferdinand returned, everything was still divided as before.

Always with the aim of improving the performance of the various Institutes, in 1835 the Royal Government introduced the Sisters of Charity as moderators and supervisors.

They await you with foresight and vigilance even today, with universal satisfaction and applause.

In January 20, 1839, a fire destroyed for the most part the building, but the piety of King Ferdinand II, of other charitable administrations, the piety of the wealthy Neapolitans did it again with more luxury and comfort, as can still be admired today.

Today this vast building has a room, known as the "wheel", where newborns are introduced to the hole overlooking the road, collected from within by the Sisters of Charity and delivered to nurses to feed and care for them.

There is the men's and women's ward, all of whom are ready for reading and the arts. The women remain in the autumn until the request for marriage, or as rulers in honorable and religious houses, always all accompanied by a prerogative.

Those who want to embrace the religious state enter the Monastery and live under the Holy Rule.

The Pharmacy, as has been said, is for the needs of the Establishment and for the 'known' poor who are given medicines for free. All this is declared by the two stupendous couplets carved on a marble slab, set on the large vestibule, the work of Fr. Celestino Guiniardini of the Celestine Order.