Teano. Church of San Michele Arcangelo

Town of pre-Roman origins, located on the slopes of the volcanic massif of Roccamonfina.

The Campanian Amphitheater or Capuano Amphitheater is a Roman amphitheater located in the city of Santa Maria Capua Vetere - coinciding with the ancient Capua - second in size only to the Colosseum in Rome. It is located within the municipal area of Santa Maria Capua Vetere, facing Piazza I Ottobre. A substantial part of its stones were used by the Capuans in the Norman era to erect the Castle of the Stones of the city of Capua; some of his ornamental busts, used in the past as keystones for the theater arches, were placed on the facade of the Town Hall of Capua.

The church, dedicated to San Michele Arcangelo, rises along the western slope of Mount Tifata. Initially in the documents the building is indicated as ad arcum Dianae ("at the arch of Diana"), recalling that it stood above the remains of the temple dedicated to this divinity, while later it is referred to with the denominations ad Formas , Informis or in Formis. The etymological interpretation of the new name is controversial: on the one hand, the hypothesis is that it derives from the Latin term forma ("aqueduct"), and that it indicates the proximity of a conduit or aquifer; while on the other hand the term is considered derived from the word informis ("formless", and therefore "spiritual"). The remains of the Roman temple were found in 1877, and it has been noted that the basilica retraces its perimeter, adding the apses at the end of the aisles. The first construction of the basilica can be traced back to the Lombard period, on the basis of the widespread diffusion of the cult of the archangel Michael among the Lombards at the end of the sixth century. At the time of the bishop of Capua Pietro I (925-938), the church was donated to the monks of Montecassino, who wanted to build a monastery there. The church was then taken from the monks and given back to them in 1072 by the prince of Capua, Riccardo. The then abbot Desiderio di Montecassino (the future Pope Victor III) decided to rebuild the basilica (1072 - 1087) and still respected the architectural elements of pagan origin. To him we owe the frescoes of the Byzantine-Campanian school that decorate the interior and which constitute one of the most important and best preserved pictorial cycles of the time in southern Italy. The reconstruction of the portico in front of the church, with new frescoes, and a reconstruction of the bell tower following a collapse have been attributed to the 12th century

The building of S. Paride is a church with a basilica structure with three naves, and termination with a semicircular apse. The facade, where it is possible to admire the building technique in tuff blocks arranged in regular rows, is characterized by the presence of two semi-columns in tuff on the sides of the portal, and a third in the right corner. The half-columns each rest on a pilaster, also in tuff. A fourth semi-column must have been present near the left corner, where there is still a Tuscan base still in tuff. These still retain the Corinthian capitals of reuse, also in local tuff. The entrance is rather simple, with a molded secmicircular frame supported by two shelves with inlaid motifs in plants. The marble frame still preserves the kyma lesbio decoration, followed by a curb with parallel lines and a second frame with denticles. The frame overlooks a lunette where traces of a fresco can no longer be read. The whole is surmounted by two mullioned windows. Internally, the naves are divided into six bays and separated by arches supported on each side by five quadrangular pillars. The light comes from the mullioned windows placed on the perimeter walls. A large opening, now flanked, also with a round arch, is visible along the left perimeter. The only piece of furniture is the so-called chair of S. Paride, made up of a reddish tuff block. The interior is rather simple, and still has a small crypt with burials in the crate.

The military shrine of Mignano Montelungo is a military cemetery located in Campania, which contains the remains of 974 Italian soldiers, of which 784 who died during the Second World War in the battles of Montelungo and Cassino [1], while the rest come from the old cemetery of war of Mignano. Near Mignano Monte Lungo, between 8 and 16 December 1943, there was a battle between Italian regular units and the German army, in the liberation war of southern Italy. Built on the eastern slopes of Mount Lungo, it is about two kilometers from the municipality of Mignano Monte Lungo, in the province of Caserta, along the Via Casilina on the border with Lazio and Molise. From the entrance gate a staircase leads to the main building, at the center of which there is the main altar in dark marble, with a statue of a dying soldier, the work of the artist Pietro Canonica. On both sides the structure has a portico built in white marble. On the side of the altar there are two tombstones: one is dedicated to General Vincenzo Dapino, while on the other is the text of the congratulatory telegram from General Mark Clark to Dapino himself, for the victorious battle. The portico bears the inscription MORTUI UT PATRIA VIVAT and on the side of the access staircase, arranged in rows with shelves sloping towards the entrance, 784 soldiers who died fighting with the Italian Liberation Corps and with the Folgore Combat Groups, Legnano are buried , Mantua, Friuli and Cremona. Each tomb is marked with a white marble cross with the name carved on the tombstone. On the last shelf is the tomb of General Umberto Utili. Also on the side of the staircase there are two stone bases on which two flagpoles with the flags of the Combat Groups are placed. On the hill, on the vertical of the staircase, there is a bronze statue of the Immaculate Madonna. In the square of the Shrine, with a ray of orientation, the various locations where the various fights took place are indicated. In front of the Memorial, on the other side of Via Casilina, a small museum has been set up where it is possible to view various documents, photographs, relics and weapons of the time, outside it there are tanks and Italian artillery pieces and British employed in the battle.

Teano, the ancient Teanum Sidicinum, well known as the site of the historic meeting between Vittorio Emanuele II and Garibaldi in 1860, is located at the foot of the Roccamonfina volcanic group in the province of Caserta, has a rich monumental heritage, great environmental value and numerous ancients. Inhabited by the populations of the Aurunci and Sidicini, of Samnite origin and perhaps occasional cause of the outbreak of the first Samnite war in 343 BC, it has returned some of the first four documents in Italian vernacular, just after the middle of the tenth century, the "papers of Teano". The city was the birthplace of Antonello Petrucci one of the leaders of the so-called fifteenth-century Conjugation of the Barons and owner of a palace in Naples located in Piazza San Domenico Maggiore, next to the entrance to the church of the same name. The ancient Teanum occupied the place of the current city while the thermal baths and the amphitheater fell outside the walls, had an irregular perimeter and an area of about 7 and a half hectares.

The sanctuary of Montevergine is a Marian monastic complex of Mercogliano, located in the hamlet of Montevergine: it is a national monument. The territorial abbey of Montevergine is one of the six Italian territorial abbeys. Inside the painting of the Madonna di Montevergine is venerated and it is estimated that every year it is visited by about one and a half million pilgrims.

Construction was begun by probable workers of the Casauriense school (see portico of the abbey of S. Clemente a Casauria built between 1176 and 1180) in 1113, partly reusing materials from ancient Roman buildings, and consecrated in 1183; the current external appearance was achieved in the first half of the thirteenth century with the addition of the portico and the large window placed in the upper part of the facade. The interior, on the other hand, having eliminated the trussed ceiling already in the thirteenth century, remained Romanesque until the mid-eighteenth century when the bishop Francesco Caracciolo d'Altamura decided to modernize it according to the tastes and style of the time, namely the Baroque. In July 1929, Pope Pius XI elevated it to the dignity of a minor basilica.

The cathedral, originally dedicated to San Terenziano, was later named after San Clemente. Construction began in 1050 by Bishop Guglielmo, to replace the old cathedral of San Paride ad Fontem, located outside the city walls. The works were completed in 1116 by Bishop Pandulfo. The building has a basilica structure divided into three naves by two rows of columns. In 1608 it was damaged internally by a fire that almost completely destroyed the cosmates ambo, subsequently recomposed using the remains of the previous one integrated with the marble slabs of a fourteenth-century sepulchral monument already present in the church and positioned on twisted columns, two of which rested on fountain lions. During the 16th century the Romanesque apse was modified and on that occasion a precious carved wooden choir was built in the presbytery, built in 1539 by the Benedictine Antonio Maria Sertorio. The choir underwent two restorations, the first in the 17th century and the second in 1957, following the damage suffered during the Second World War.