The cathedral (Duomo) began to being constructed in full age Angioina to leave from the 1294 under the kingdom of Carl II of Angiò.  It rises on previous religious buildings, between which we remember the Stefania's cathedral of V the century, the Restituta Saint's Church.  The facade that we admire in this photography is not that original one (collapsed with to the bell tower during the earthquake of the 1349), but she is that do over again from the neogotic participation of the architect Enrico Alvino.  Of the ' 400 they are instead the three great doors, constructed from Antonio Baboccio da Piperno; century is from admiring the " Madonna with Child " situated into the central portal the work of Tino da Camaino (XIV).  To the inside they can be discovered, in the central nave, the burlaps of the Santafede di Forlì, dell'Imparato, hollowing  in the ceiling of wood to caissons, of the 1621.  The dome houses also the relics of San Gennaro, protector of Naples, who was martyred in AD 305. In the Cappella San Gennaro contains his head and phials of his congealed blood that miraculously liquefies three times a year. According to tradition, if the blood doesn’t liquefy, the city will have bad luck.

The chapel's true name, Santa Maria della Pietà or Pietatella, comes from the apparently miraculous "Pietà" statue which can be seen above the altar. Built in 1590 by Giovan Francesco di Sangro, the building was transformed into a family burial chapel, by his son Alessandro in 1608. Its present decoration was carried out at the request of prince Raimondo di Sangro in the eighteenth century. A man of many interests and talents, he turned the chapel into a temple of masonic iconography. Monuments of note are La Pudicizia by Di Antonio Corradini, Il Disinganno by Francesco Queirolo, the altar relief (Deposizione) by Francesco Celebrano and, in the centre of the nave, The Cristo Velato (Veiled Christ, 1753) by Giuseppe Sanmartino. In the crypt are two "skeletons", actually anatomical models, but which have helped contribute to the mysterious image of the prince.

Situated in Via Tribunali, the most important of the decumans or divisions of the Graeco-Roman city and over the centuries the site of much religious and secular architecture, the Pio Monte is one of the most characteristic edifices of the Neapolitan seventeenth century. Constructed between 1658 and 1672 by Francesco Antonio Picchiatti on an earlier building by Giovan Giacomo Conforto it was the site of a religious institution dedicated to charitable works for the needy, in which it followed the Counter-Reformation ideals of the period as well as filling the role left vacant by the decadence of political leadership under the viceroys. The two-storey building rests on a portico of five arches and holds the Quadreria on the first floor, which contains paintings from the 17th and 18th centuries including forty-one by Francesco De Mura. In the church, designed on an octagonal plan and having seven altars, can be seen the Madonna of the Resurrection, by Michelangelo Merisi da Caravaggio. The other paintings, inspired by the work of the Pio Monte, reveal the late mannerist style of the south and the enormous influence of Caravaggio on the art of the city. The impressive sculptures that decorate the portico are the work of Andrea Falcone.

The building is in via Carbonara, the name deriving from the term used in the Middle Ages to indicate the place where refuse was disposed of outside the town-walls. Its foundation is due to the generosity of the aristocrat Gualtiero Galeota (1343). The church was modified at the beginning of the 15th century by the sovereign Ladislao di Durazzo and in the subsequent centuries it underwent various modifications and additions, the last and most important in the 18th century. The main entrance was through a monumental staircase designed by Ferdinando Sanfelice; at present it is located at the side. In the rectangular hall is King Ladislao's mausoleum, which built between 1414 and 1428, is covered with allegorical figures. At the back of the mausoleum the Chapel of the family Caracciolo del Sole can be found, with the monument to Sergianni Caracciolo, great seneschal and Queen Giovanna's lover. On the walls, there are frescoes of the Giotto school, with scenes of monastic life and the birth of the Virgin. To the right of the Presbytery are the Chapel Caracciolo di Vico, the sacristy, the Madonna delle Grazie altar and the funeral monument to Miroballo.

Originally dedicated to Saint Severus (the saint's remains were brought here in the ninth century), it was only in a later period that the church acquired its current name, which had previously applied only to a single chapel within it devoted to Saint George. In 1640, a fire completely destroyed the church, and its reconstruction was entrusted to Cosimo Fanzago. His original project, which envisaged the construction of two churches, could not be realized because of obstacles arising from revolution and plague. In the plan finally implemented, the church's orientation was reversed. Further work was done on the church by Arcangelo Guglielmelli after the earthquake of 1694. The opening of Via Duomo required knocking down the right-hand wing of the church, its facade, and its campanile. Consequently, the current interior arrangement is somewhat anomalous, with a floor plan consisting of a single nave and chapels only on the left side. There are remains of the apse of the ancient paleochristian basilica in the entrance of the new church, with Corinthian columns that originally belonged to Roman buildings. In the interior are paintings by Francesco Peresi (1713) and Alessio D'Elia (1757).

Built between 1584 and 1601 by Giuseppe Valeriano, this church rises on the site of the fifteenth-century palazzo dei Sanseverino; from this latter building the church incorporated the unusual diamond façade by Novello da Sanlucano (1470). It was dedicated to the Immacolata and right from the inauguration was called Gesù Nuovo, by the people to distinguish it from the Gesù Vecchio. The "founder" of the church was considered to be the Principessa di Bisignano who made a large contribution to the Company and who also nominated it her heir. This fact is commemorated in a tablet in the façade. The interior is three aisled Greek cross with arms of unequal length included in the perimeter. This is considered one of the most interesting examples of Neapolitan baroque and we can admire works by Cosimo Fanzago (Davide e Geremia), Giovanni Lanfranco (Evangelisti, 1638), Giuseppe De Ribera (Storia di Sant'Ignazio), Luca Giordano (Storia di San Francesco), Francesco Solimena (La cacciata di Eliodoro dal tempio, 1625). The reliquary in the chapel of Sant'Anna is particularly interesting: as many as 64 reliquary busts of saints in painted wood, by Domenico di Nardo.

Santa Chiara was ordered by Sancia of Mayorca, wife of King Robert of Anjou, and built between 1310 and 1328 by Gagliardo Primario in the gothic-provencal style, with strong local influence. The use of yellow sandstone and piperno greystone lava is typically Neapolitan. The only decorative elements of the facade are the central rose window and the surround of the main entrance. The interior is a single hall with side chapels carved out of the central nave. Nothing remains of the rebuilding work done in the eighteenth century which brought the trim up to date with the Baroque style of the day, or the decoration work that was destroyed in the fire caused by the bombardment of August 4, 1943. The post-war restoration work re-instated the original gothic structure. The collection of sculptures, originally very ornate due to the fact that Santa Chiara belonged to the Angevin court (who erected the family tomb), suffered considerable damage. The frescoes of Giotti have also been lost. Of particular note is the burial monument erected in honour of King Robert by Giovanni and Pacio Bertini (1343-45), and the tomb of Duke Charles of Calabria and Marie of Valois, built by Tino da Camaino. It is only possible to admire the remains of the "Compianto sul Cristo deposto" (grieving over the crucified body of Christ), in the Choir of the Clarisse, where the nuns of the order attended services. Of particular note here are the connecting windows between the two areas, which on the church side are protected by iron spikes intended to punish prying eyes. The fourteenth century Chiostro Grande (belonging to the Clarisse) was restructured in the eighteenth century rococo style, which was ordered by the Mother Superior, Ippolita Carmignano, and carried out by Domenico Antonio Vaccaro. While the original medieval structure of the vestibule, particularly the pointed arches, was preserved, that of the gardens was completely transformed, with the opening of the two crossed paths. The decoration of the Cloisters was carried out by Donato and Giuseppe Massa, father and son. The majolica tiles of the seats show scenes of town and country life from the eighteenth century, whereas the octagonal shaped tiles on the pillars show patterns of vines and wisteria, which spiral up as far as the capital in piperno.

Of the primitive church, built by Cardinal Rinaldo Brancaccio between 1385 and 1401, almost nothing remains except the original facade on Via Mezzocannone, which retains the Gothic-Catalan style doorway. The name of the church derives from its proximity to the square where the statue of the Nile god stands, denoting the area of the city inhabited by Egyptians in Greek and Roman times. Its present appearance dates back to the restructuring carried out in the sixteenth century, which modified the layout and created a new facade on the square, in which the present doorway was placed. The inside of the church consists of just one room, with two chapels down the side on the right. In the presbytery chapel stands the funeral monument of Cardinal Rinaldo Brancaccio (1428), sculpted in Renaissance style by Michelozzo and Donatello (Relief of the Assumption). It is likely that the two artists did not work on the monument in Naples, but in Pisa, and that it was later transported and erected by Pagno di Lapo Portigiani.

The complex, whose original name is Santa Maria di Monteoliveto, was founded in 1411 with bequests made by Gurrello Orilia, prothonotary to King Ladislaus of Durazzo. Traces of the original structure are still visible in the flattened Gothic-Catalan arches of the portico and the windows of the Orilia Chapel. In the middle of the seventeenth century it underwent a major renovation at the hands of Gennaro Sacco. Its current name dates back to the nineteenth century, when the building was ceded to the Confraternity of Saint Anne of the Lombards. Its interior has a single nave with side chapels. To either side of the entrance are family chapels which, for their atmosphere and decoration, constitute a little museum of Renaissance art. The tomb of Maria of Aragon and the altar with a bas-relief of the Nativity in the Piccolomini Chapel are the work of Antonio Rossellino. Benedetto da Maiano is responsible for the altar in the Correale-Mastrogiudice Chapel with a relief of the Annunciation (1489). A terracotta group by Guido Mazzoni (1492), depicting a Pietà (or a Lamentation over the Dead Christ), is preserved in the Orilia Chapel.

Founded in 1593 by the Silk Guild, the church replaced an older structure of the same name, which had become too small for the needs of the congregation, who used it as an academy for the education of daughters of needy silk workers. The church's present appearance dates form its reconstruction in 1723. Later, under the supervision of Gennaro Papa, the rich decoration of the stuccoes, marble, and paintings was undertaken. At the same time the facade was restructured, with the statue by Giuseppe Sanmartino (Santi Filippo e S. Giacomo) below, and those of Giuseppe Picano (Religion and Faith) above. The church consists of one nave with four chapels on each side. The majolica floor, attributed to Donato Massa, is decorated with a geometrical design at the centre of which there is the emblem of the Silk Guild. The frescoes in the vault and on the walls (1757-1759) are by Jacopo Cestaro. The two rococo’ stoups (1758-59) were sculpted by Giacomo Massotti.

The church was built for Margherita di Durazzo in honour of her patron saint at the beginning of the fifteenth century, upon the Queen's return to Naples after the struggle for succession. The Confraternita dei Disciplinati had its headquarters here. This organisation numbered among its members some of the most notable figures of the time. It was occupied by the Spanish during the Masaniello revolution, when it was sacked by the mob. It was rebuilt three years later. Further work was carried out in 1715. Only the façade retains its original appearance, with truncated-arched portal and the remains of three gothic windows, now walled up. The interior, with a single nave, features eighteenth century marble altars. A painting of Andrea and Nicola Vaccaro (Santa Marta, 1670). The remaining decoration and fittings (stucco work, gilt, majolica- tiled floors and wood carvings) date from the late nineteenth century.

Although it was built in 1342 along with the convent annexe on the orders of Queen Sancia D'Angiou, nothing of the original gothic structure remains. It was first restructured in the 16th century by Gabriele D'Angelo, and then in 1684 Dionisio Lazzari changed the style to baroque. The addition of the title "of the Elm" after the tree of that species which stands near the entrance, was considered necessary to distinguish it from the other church of the same name founded in 1616 in Pizzofalcone by a group of nuns who were tired of the dissolute life of their convent. The interior is elliptical with radial domes, covered in carved marble. Four organs can be found in the four corners and at the entrance is the wonderful main chancel, with its woodcarvings and silver decoration, all of which are dated 1713. The church has a splendid collection of paintings by the major artists of the 17th and 18th century. There is the "Comunione di Santa Maria Egiziaca" by Andrea Vaccaro, the "Conversione" and "La Fuga della Santa" by Luca Giordano, while the two paintings of "Madonne e Santi" are by Francesco Solimena.

The church, built in 1715 by Arcangelo Guglielmelli, is one of the most significant examples of late Baroque architecture. The floor plan is the result of superimposing a Greek cross onto an octagonal base. It was probably the area available for building that suggested this plan. The decorative program, devoid of stucco and fancy ornamentation, is the work of Nauclerio. There are precious fittings in the church, such as the wood choir by Giuseppe Ricciardella (1725). The commission for the high altar was given to Giuseppe Scarola, who constructed it with a stucco altar frontal. The current altar was built in 1743 by Ferdinando Sanfelice, together with the impressive framing of the painting of the Madonna delle Grazie. The Institute dates back to 1655, when Duchess Elena Aldobrandini founded an educational center for poor girls. In 1870, the government recognized it as a "corporate body," under the auspices of the Ministry of Public Education. It houses a collection on the history of clothing, and an exhibit of embroidery in silk and gold for fabric and religious vestments.

The present structure dates back to the Middle Ages (13th century) though the foundations go back much further to the 5th century. The church was consecrated by Clemence IV sometime between 1265 and 1268. The interior with its single nave is still standing and the polygonal apse with the still visible traces of its frescoes and elements of gothic architecture can be seen. In 1615 the church was delivered into the hands of Basilani monks in 1615 who commissioned Nicola Tagliacozzi Canale to modernize the church in baroque style. It was then that the stuccowork was done on the nave and the floor level raised. On the outside a fine 15th-century portal deserves notice. It is attributed to Antonio di Chelino, one of Donatello's pupils.