A place suspended between Gothic and Renaissance, an intricate treasure chest that opens with the characteristic piperno staircase by Ferdinando Sanfelice.
Born on the medieval Carbonarius, waste disposal area
It is the Pantheon of the last Angevins
The Mausoleo di Ladislao is among the highest examples of Neapolitan Gothic
It houses a 15th-century majolica floor
It includes the Sagrestia Vasariana, with 16 paintings by Vasari
Construction of the church began in the 14th century, on land donated by the patrician Gualtiero Galeota to the order of Augustinian Friars. The land was situated in an area that during medieval times was used for waste disposal, which was incinerated and flowed toward the sea. These areas were called Carbonarius or Carbonetum.
From the Mausoleo di Ladislao, which expanded the church making it the pantheon of the last Angevins, to the chapels born from the strong bond with the Caracciolo family, the church tells the story of the eras that both the complex and the entire city have passed through.
A newly reopened space housing sixteen 16th-century works by Giorgio Vasari, depicting a cycle that unfolds through the four “Stories of Sacrifices” from the Old Testament and the six “Stories from the Life of St. John the Baptist.”
The Catalano and Sixteenth-Century cloisters have also reopened, with the aim of recreating the cultural circle established by Cardinal Seripando in the 16th century.
The church of San Giovanni a Carbonara is not only a place of worship or culture, but a laboratory of citizenship returned to the community.
Construction of the church and Augustinian convent began in the 14th century with donations from Gualtiero Galeota, who offered the Augustinian friars some of his lands in the area called “Carbonara,” from Carbonarius or Carbonetum, meaning the areas designated for waste collection outside the city walls.
In the 15th century, Ladislao di Durazzo, king of Naples and Jerusalem from 1386 to 1414, expanded the church with a monumental cloister (now disappeared), enriched it with precious marbles and founded a theological college that became a meeting place for humanists like Pontano and Sannazaro.
Starting from the 15th century, a strong bond was established with the Caracciolo family, which contributed to creating some of the main chapels of the church and the second monumental cloister, the Porteria. In the 16th century, Cardinal Girolamo Seripando had the new cloister built, along with the conventual library.
The 1688 earthquake caused serious damage, but restoration made it possible to create an educational institution and novitiate, which transformed the convent into one of the most prestigious schools for Neapolitan nobility and for the servants of aristocratic families.
In the eighteenth century, architect Ferdinando Sanfelice was commissioned by the Augustinians to improve the entrance. This gave birth to the monumental staircase in piperno stone that connects the different levels of the complex.
With the suppression of the Augustinian order during Austrian rule, decline began and the complex was converted into a barracks, a function it maintained even after Italian Unification under the name Caserma Garibaldi. Today, part of the convent houses judicial offices.
Interior of the Church.
The Mausoleum of Ladislao
The Mausoleum of Ladislao is among the most imposing works of Neapolitan Gothic art, in which a new artistic sensibility begins to emerge. According to sources, the main author of the monument was Andrea da Firenze, with pictorial contributions attributed to Leonardo da Besozzo, a central figure in the transition between Gothic and Renaissance.
The funerary monument rises behind the main altar and is articulated in three vertical orders, rich with iconographic and symbolic elements.
First order: the base and caryatids. The Gothic base occupies the space of the tribune and provides access to the Cappella di Sergianni Caracciolo. Upon it rise four caryatids, allegorical representations of the Virtues: Temperance, Fortitude, Prudence, Magnanimity.
The second order: the triumphal cell. Above the base opens a triumphal cell with a round arch decorated with Durazzo arms and rosettes in the spandrels. On the sides of the arch are placed eight small statues of saints, while at the center, on royal thrones adorned with leonine heads, are depicted in majesty King Ladislao and Giovanna II.
On the sides are sculpted Military Virtue, Hope, Charity and Faith. In the two lateral tabernacles are frescoes depicting San Giovanni Battista on one side and Sant’Agostino on the other, the latter signed by Leonardo da Besozzo.
The third order: the mortuary cell. Here is placed the recumbent statue of King Ladislao with cloak, stole and crown, lying on a canopied bed with curtains lifted by two angels. Framing the scene are the small enthroned statues of Ladislao, Queen Giovanna, his father Carlo III and mother Margherita, and the statues of the Virgin Mary, San Giovanni Battista and Sant’Agostino.
Above the structure towers the equestrian statue of King Ladislao, depicted with sword raised in his right hand, symbol of absolute power and sovereignty.
The funerary mausoleum of Ladislao di Durazzo, located in the apse.
Cappella della Natività della Beata Vergine dei Caracciolo del Sole
The Chapel of the Holy Virgin’s Nativity tells of memories, symbols and transformations of the Caracciolo del Sole family and the advance of the Renaissance in Naples. It was commissioned by Sergianni Caracciolo, Grand Seneschal of the Kingdom of Naples, Count of Avellino, Duke of Venosa and lover of Queen Giovanna II, who died assassinated in 1432 in a court conspiracy.
Collapses and rebirths of the dome. The dome was frescoed in the second half of the 15th century with family coats of arms. Throughout its history, it has suffered three collapses and as many reconstructions. The last was in the twentieth century, carried out in a style discordant with the original ensemble.
The funerary monument of Sergianni Caracciolo. The sepulcher is articulated in three orders: the first consists of a base with floral motifs on which rest five statues of armed virtues; the second order is formed by the front of the coffin, decorated with two warriors bearing the family coat of arms, two winged genii with a laurel crown bearing the coat of arms and scenes with the Archangel Michael on the sides. The marble slab of the upper part of the coffin that constitutes the third order bears a commemorative inscription narrating the life and tragic end of Sergianni, composed by Lorenzo Valla.
The style of the monument. The figurative sculptures of the monument appear rigid and lacking expressiveness, in contrast with the refinement of the decorations and details of the virtues’ clothing. A style linked to tradition, but which marks a step forward toward the Neapolitan Renaissance.
Pictorial cycle and Lombard art in Naples. The internal walls of the chapel are divided into eight compartments frescoed with scenes of hermitic and Marian life. The authors of the frescoes are Perinetto da Benevento, Leonardo da Besozzo and assistants, whose signatures are present.
The majolica floor. The original 15th-century floor in glazed majolica is composed of square and hexagonal tiles, painted freehand by Florentine workshops, depicting men, women, fantastic animals, plants and flowers inspired by Oriental art.
The Cappella della Natività della Beata Vergine dei Caracciolo del Sole.
Cappella dell’Epifania dei Caracciolo Marchesi di Vico
The Chapel was built starting from the early years of the 16th century by Galeazzo Caracciolo, lord of Vico, and completed by his son Nicolantonio, marquis, both distinguished in the defense of the Kingdom.
The chapel owes its name to the fact that work was completed on January 6th, in both phases of construction, in 1516 and 1557. The architecture and altar of the Epiphany are works by Bartolomé Ordóñez and Diego de Siloé, the funerary monuments of Nicolantonio and Galeazzo Caracciolo and other sculptural works were created with contributions from various artists, including Girolamo Santacroce, Annibale Caccavello and Giandomenico D’Auria.
Characteristics of the chapel. The room has an irregular octagonal shape, with large windows alternating with smaller ones and Corinthian columns lending balance. The internal decorations are in white Carrara marble and red porphyry stone. In the drum are eight plaster statues of the apostles, attributed to the school of Giovanni da Nola and dating to the mid-16th century. The marble floor presents a circular design in bands with geometric motifs, which echo those of the dome and lead to the center of the chapel.
The altar. It is characterized by a predella in three panels resting on the mensa, with a Doric order aedicula. At the center, a bas-relief of the Epiphany depicts the Virgin holding Jesus. In the lateral niches are depicted San Giovanni Battista and San Sebastiano, while below the predella are represented San Giorgio and the dragon, with high reliefs of the evangelists Marco and Luca on the sides.
On the sides of the central altar are represented San Pietro and San Paolo, with at their feet four simulacra of members of the Caracciolo house, including Marcello and Girolamo Caracciolo.
The funerary monuments. The tomb of Galeazzo Caracciolo houses at the center his martial statue in war attire, with sword in one hand and arms in the other, which surmounts the sarcophagus, supported by leonine paws. The funerary monument of Nicolantonio has similar structure, but with less elaborate decorations and two allegorical statuettes of Fidelity and Charity.
The Cappella dell’Epifania dei Caracciolo Marchesi di Vico.
Cappella dell’Assunzione della Beata Vergine dei Di Somma
The Chapel of the Di Somma family is another precious example of Neapolitan art of the sixteenth century, created in the mid-16th century based on designs by Giovanni Domenico D’Auria and Annibale Caccavello, who executed respectively the altar and lower part of the relief of the Assumption, and the upper part of the same relief and the sepulcher of Scipione Somma. It is among the best preserved of the monumental complex.
Characteristics of the chapel. The chapel has a rectangular plan, is articulated by twelve Corinthian columns and is surmounted by a lunette barrel vault, with stucco cornices and frescoed fields. The environment houses a cycle of frescoes dedicated to the Passion of Christ and the Prophets, attributed to an unknown Neapolitan author.
The sepulcher of Scipione di Somma. It belongs to the Neapolitan school of sculpture derived from Antonio Rossellino and Benedetto da Maiano. The monument rests on a simple geometric base, while the sarcophagus is richly decorated, with the deceased lying with his head resting on a pillow, with helmet and sword at the sides.
The Di Somma's frescoed chapel dedicated to the Assumption of the Holy Virgin.
Sagrestia Vasariana
The reopening of the magnificent Sacristy of San Giovanni a Carbonara restores an extraordinary historic space to the city. Its 16th-century sixteen panels by Giorgio Vasari are finally on display again in the very setting where they were conceived, initiating an intense dialogue with 20th-century works and contemporary installations. These masterpieces tell a fascinating story that began in 1545, at the end of the great artist and art historian’s stay in Naples.
Originally, the paintings were set directly into the sacristy’s wooden cabinets, designed by Vasari himself. This was a highly unusual choice for the time—when carvings or reliefs were preferred—and transformed the space into a sort of refined and precious Renaissance “studiolo.” The cycle represents a true milestone in art history due to its exceptionally rich iconographic program. The viewer’s gaze is guided by the figures of the four Evangelists and the four Doctors of the Church, who introduce the main scenes. The heart of the narrative unfolds through the four Stories of Sacrifices drawn from the Old Testament and the six Stories from the Life of Saint John the Baptist, the church’s patron and namesake saint. Today, this ancient narrative engages with the sensibilities and artistic languages of the masters of the 20th century and the present day through the exhibition “Polifonie.”
In the mid-18th century, the wooden cabinets were destroyed and the panels were separated. Of the original cycle, two ended up in France in the early 19th century, while the other sixteen remained in Naples. In 1941, due to damage caused by a fire resulting from a bombing raid, the paintings were removed to ensure their safety.
After a long history of dispersion and restoration, Vasari’s works have returned permanently to their home, transforming the sacristy into a vibrant meeting point between different eras.
Some of Vasari's paintings on display.
Catalan Cloister and 16th-Century Cloister
The Cloisters are a vibrant, open space. The entire monumental complex has been returned to the community as a hub of social interaction and creativity, completely free and accessible to all. It is a place to enjoy at any time of day, thanks to a rich array of activities and the reopening of the Catalano Cloister and the 16th-Century Cloister. The goal is to recreate the legendary cultural circle established in the 16th century by Cardinal Girolamo Seripando. Drawing inspiration from his open and pluralistic vision, the complex once again becomes a shared space where historical memory, contemporary art, and community engagement converge.
Visitors can meet for a coffee or browse a catalog between the Punto Ristoro and the Bookshop, or work, study, and network in the areas dedicated to Coworking. The complex will become a true arts hub: the historic halls will be transformed into a permanent showcase for art exhibitions, while the cloisters will resonate with music and words through acoustic concerts, readings, and performances of theater and arthouse films.
Finally, as the sun sets, culture will continue to thrive through evening events, making San Giovanni a Carbonara a vibrant, safe, and well-lit hub for the city’s nightlife.
The inauguration of the Chiostri, conceived as an arts workshop.
Cappella di Santa Monica
The chapel was built at the wish of a member of the Sanseverino family, probably Ruggiero Sanseverino.
The Gothic portal. Among the most relevant artistic elements of the chapel is the late Gothic marble entrance portal, decorated with small statues of saints. Among the figures represented are Sant’Agata, Santa Caterina, Santa Barbara, Sant’Anastasia, Sant’Apollonia and Sant’Orsola.
In the lower part is represented the Annunciation, with the Archangel Gabriel and the Virgin. At the center of the tympanum stands a fresco with the Virgin in glory, attributed to an unknown master, above which is a bas-relief with two angels holding a tondo with the face of the blessing Christ. The decoration culminates with a statuette of the Virgin placed at the upper vertex.
The funerary monument. The work was created by Andrea da Firenze in the 15th century, and is composed of a tabernacle with four pillars decorated with friezes and Sanseverino coats of arms, with sixteen statues of saints and apostles in the niches of the columns.
The triangular tympanum houses an oval bas-relief depicting the blessing Christ in full figure. The sepulchral coffin is supported by the theological virtues: Faith, Hope and Charity.
On the front of the coffin are represented San Giovanni Battista, Santa Caterina, the Madonna and Child between two angels, San Giovanni Evangelista and Santa Lucia. The recumbent figure of Ruggiero Sanseverino is supported by two angels decorating the pillars of the canopy, with the scene of the Crucifixion with Jesus, the Virgin and San Giovanni Evangelista at the apex.
The façade of the Chapel of Santa Monica.
Other Areas of the Complex
Those mentioned are only some of the chapels and areas of interest of the monumental complex. Among the other treasures of San Giovanni a Carbonara are also:
The Cappella di San Giovanni Evangelista dei Miroballo: built at the end of the 15th century, it is in white marble, with statues preserved almost intact and architectural motifs that make it one of the first examples of Renaissance art in Naples.
Altare della Purificazione: work by Annibale Caccavello, composed of an aedicula with Corinthian columns and bases decorated with the patrons’ coats of arms. It is decorated with a panel depicting the Eternal Father and an altarpiece in bas-relief, representing the Blessed Virgin placing Jesus in the arms of Simeon.
Cappella dell’Addolorata del Duca di Castropignano: the chapel has a square plan with cross vault, the walls are covered with yellow Verona marble, the floor is in polychrome marbles.
Affresco dell’Annunziata: characterized by the presence of a fresco by Leonardo da Besozzo and Giovanni da Gaeta dedicated to the Annunciation, in which the figure of the Virgin is missing, but the Archangel and the Baptist are visible, represented with delicacy and grace.
Cappella del Crocifisso dei Seripando: it has a rectangular plan and houses the simple tomb of Antonio Seripando, without ornaments, in white marble and with a commemorative epigraph.
Through Centuries of History
The monumental complex of San Giovanni a Carbonara is a surprising journey through the eras and artistic styles that have crossed the city.
The interior of the church responds to canons of Gothic style: it is composed of a single nave, the apse characterized by cross vaulting.
However, the decorative elements of the chapels, such as the loggias, niches and allegorical sculptures of the Mausoleo di Ladislao and the 15th-century majolica floor introduce a Renaissance style.
Acting as a binding element, the monumental 18th-century piperno staircase, designed by Ferdinando Sanfelice to solve access problems to the various levels of the complex.
