At the home of an Empress
Nestled between Mount Vesuvius and the sea, Torre Annunziata offers breathtaking landscapes, welcoming squares, and a vibrant atmosphere.
But our city is not just this; it is rich in history, culture, and traditions.
Founded i
n the 14th century on the ruins of ancient Oplontis, it boasts an extraordinary archaeological heritage that was declared a UNESCO World Heritage Site in 1997.
The jewel of these Roman-era remains is undoubtedly Villa A, attributed to Poppaea, the second wife of Emperor Nero.
This is evidenced by some artifacts, including, in particular, an amphora that bore the inscription Secundo Poppaeae, meaning “to Secundus (procurator) of Poppaea,” painted on its shoulder. Her name also appears in a graffito on the bottom of a terra sigillata plate.
Furthermore, the vastness and intricate complexity of the architectural structure, combined with the richness and beauty of the decorations, suggest that the building belonged to people of very high social rank.
The initial construction of the villa dates back to the mid-1st century BC, and at the time of the Vesuvian eruption in the autumn of 79 AD, it was undergoing renovations, as evidenced by the presence of damaged and propped-up columns under the portico, and the placement of statues out of position, as well as the fact that no victims have been found in any of the over 90 rooms excavated so far.
If you want to immerse yourself in the charm and elegance of this villa of leisure, follow us on our itinerary.
Once you descend the steps of the access staircase to the excavation, you find yourself in the northern garden, to the right of which you can observe the succession of layers of ash, pumice, lapilli, and pyroclastic flows that buried the area during the eruption of Vesuvius.
The garden itself, where the plants that were present at the time of the Vesuvian catastrophe have been replanted and the internal pathways restored, is highly evocative.
Overlooking it is the back of the villa, dominated by the grandeur of a large hall with columns, where some of the sculptures found in the villa have been exhibited for a few months.
These include five fountains, four representing rearing centaurs, two male and two female, found under the west portico but originally placed to decorate the garden, and a splendid neo-Attic crater-fountain in Pentelic marble depicting a bas-relief dance of naked and armed warriors, which was located in the low square basin on the south side of the pool.
Continuing westward, after crossing a large room with an opus sectile floor opening onto viridaria with walls decorated in the fourth style, you reach the pool area, whose central core consists of a large tank (62×17 m.) overlooked by some rooms that must have been preceded by a portico.
Some of them now display sculptures, most of which (a headless Nike, an Artemis, an ephebe, two herms of children) were part of the rich complex that decorated the western edge of the same pool, while the group depicting a Satyr attacking Hermaphroditus was found on the southern edge of the tank.
In the last room to the south, another fountain sculpture is displayed, found, like the centaurs, temporarily stored under the portico, depicting a child playing with a goose from whose beak water must have flowed.
Leaving the pool, you enter a long room from which two long corridors branch off, one to the east and the other to the south, both with walls and ceilings decorated with geometric paintings in the fourth style; the one to the east, which connects to the service area, is characterized by the presence of masonry benches at short intervals, while the other allows us to reach the southern garden and the three-armed portico that surrounds it.
Following this portico, you arrive at another “closed” portico along which are arranged cubicula (bedrooms) and other rooms, including a hall with beautiful paintings in the second style.
From here, you access the service area developed around the rustic peristyle with a central fountain, overlooked by the large lararium, on whose western wall, within a niche, a real masonry altar is built. From here, you access the large atrium, characterized by the presence of a compluvium in the ceiling that channeled rainwater falling from the roof into the impluvium, the basin located in the center of the floor; from here, the water ended up in the cisterns and was then used for domestic purposes.
The walls of the atrium also feature a spectacular second-style decoration that envelops the visitor with its perspective vistas.
To the south of it should have been the main entrance of the villa with its sea-facing facade; unfortunately, it was destroyed at the end of the 16th century when Count Muzio Tuttavilla built the canal (still existing) that carried water from the Sarno springs and erected a series of mills along it to produce flour.
Continuing eastward, we find the kitchen next to the triclinium where official banquets were held, with a beautiful polychrome mosaic floor and a rich second-style decoration, including a striking basket of ripe figs.
From here, you pass into the so-called “peacock room” and the nearby thermal baths overlooking a small tetrastyle atrium with a central circular basin.
The decoration in the third style of the walls of the “calidarium” is unique, including a niche painting of Hercules in the garden of the Hesperides, probably a copy of a Greek original.
To date, this is the last visitable sector of the villa, awaiting the wonders that the excavations resumed a few months ago will reveal.
With this quick and approximate presentation of the villa, we invite you to discover Torre Annunziata, where the past blends with the present in a fascinating mix of tradition and solemnity.
Oplonti’s gold.
Imagine stepping back in time as you enter an extraordinary villa from the 2nd century BC, known today as “Villa B”.
Just 300 meters from the famous Villa of Poppea, this hidden gem was discovered in 1974 during the construction of the gymnasium at “Scuola media Parini”
Walking through the remains of the villa, we discover it was not just a simple home but a bustling commercial enterprise active even at the time of the eruption.
Thanks to a ring with the owner’s seal, we know this is the Villa of Lucius Crassius Tertius, connecting us directly to an ancient resident and making the visit even more fascinating.
In the peristyle, there is a series of columns made of gray tuff from Nocera that once supported the portico. The faded colors and worn surfaces tell stories of a distant past. On the upper floor, the only piece of recovered furniture catches our eye with its elegance and complexity: a strongbox decorated with fine bronze details, showcasing the refined taste and wealth of the owner. Descending to the lower floor, we find vaulted warehouses. Here, human drama is revealed in its rawest form: 54 individuals died in a desperate attempt to escape the eruption of Vesuvius.
The walls still echo their final moments, making the tragedy that struck this place palpable. In their skeletal hands, archaeologists found precious personal items: necklaces, bracelets, rings, earrings, and coins in gold, silver, and bronze, known as the “Oplontis Gold”.
These treasures show us the art and culture of the time and tell personal stories of their owners. A touching moment of our journey is seeing the fiberglass cast of the “girl of Oplontis”, allowing us to look into the eyes of a young life cut short by disaster. Medical studies on the skeletons have revealed the age and sex of the deceased, uncovering details of their lives.
Although the villa is not open to the public except on special occasions, even imagining walking through its ruins is a unique experience. The hope is that, with time and proper interventions, “Villa B” will become a regular destination for history and archaeology enthusiasts: a place where the past comes alive and tells stories of life, death, and resilience.
FAITH AND TRADITIONS
Minor Pontifical Basilica of Maria SS. Of the Snow.
If you want to live an immersive experience in the culture and spirituality of Torre Annunziata, appreciating at the same time the architectural and artistic beauty of a historic religious building, visit the basilica dedicated to Maria SS. Of the Snow. Here everything speaks of history, faith, art and community.
Built in the 15th century at the behest of the feudal lord Nicola d’Alagno, the basilica was enlarged in the 18th century and renovated in the 19th century. The classical facade is spread over two levels, with the portal framed by Ionic pil
asters and surmounted, on the upper level, by a large blind window. The square bell tower and the small temple of Santa Maria del Suffragio complete the architectural harmony. The interior has a single nave with seven arched chapels on each side, dedicated to sacred figures or containing relics. Standing out among the works of art are a large seventeenth-century organ, a marble baptistery, the frescoes by Achille Iovane, a nineteenth-century Neapolitan painter, and a fifteenth-century marble sink, preserved in the sacristy, the only trace of the ancient church built by the d’Alagno. But above all it is the Renaissance terracotta icon depicting the Madonna della Neve that attracts the attention of faithful and visitors, located in the chapel to the left of the transept in a small silver temple created by the goldsmith Michele Centonze in 1907 at the expense of the community. The venerated icon, according to tradition, was found by fishermen from Torre on 5 August of an unspecified year in the 14th century near the Rovigliano rock. This is why it was called Madonna della
Neve, August 5th, in fact, was already dedicated to Santa Maria ad Nives. The Madonna is celebrated by the Torrese people for numerous miracles, in particular those linked to some eruptions of Vesuvius.
If you come to Torre Annunziata on August 5th, the patronal feast, you can attend the historical re-enactment of the discovery of the icon on the Rovigliano beach. If you come on October 22nd, a votive festival, you can take part in the procession which commemorates the miracle of 1822, when the Madonna, carried through the streets of the city, stopped the lava coming down from Vesuvius. And when the Madonna della Neve leaves the basilica on October 22nd, carried
on the shoulders of fishermen, there is always a ray of sunshine that caresses the crowd and the city.
Sanctuary of the Spirito Santo
In the center of Torre Annunziata, the Church of the Holy Spirit stands majestically as a symbol of faith and resilience. This sacred place, with its captivating architecture and vibrant community life, represents a spiritualand cultural landmark for the residents. The history of the Church of the Holy Spirit in Torre Annunziata is closely linked to the growth and development of the city.
Founded in the 18th century, the church has seen its community thrive despite the challenges of time. Over the years, the building has undergone various modifications and restorations, including the collapse of the dome, which was then rebuilt in 1820. It is a dome 60 meters high, which with its majestic grandeur oversees the entire city
and is visible even from the sea. There is no more beautiful postcard of Torre Annunziata than the one depicting the port with the Church of the Holy Spirit in the background.
The architecture of the Church of the Holy Spirit mixes traditional and modern elements, reflecting the evolution of its design over time. The welcoming façade with elegant classical lines and numerous decorative details invites visitors into a space that exudes calm and devotion. To the right and left of the façade stand the bell tower and the clock tower. Inside the church, one can see a wide central nave with side chapels decorated with sacred artworks that narrate the lives of the saints, while the frescoes on the vault, by 19th-century painter Achille Iovane, depict the Baptism of Jesus, the Holy Trinity, andthe Annunciation. The stained glass windows, portraying scenes from the Bible and symbols of the Holy Spirit, diffuse daylight, creating an atmosphere of silent contemplation and prayer.
The Churchof the Holy Spirit is also a vital center for community activities, regularly organizing liturgical events, catechesis for youth and adults, as well as prayer and
meditation meetings. The church actively engages in charity and volunteer projects, offering help to needy families, the homeless, and lonely elderly people.
With the current restoration and modernization works underway, the parish is committed to preserving the historical and cultural heritage of the place, making it increasingly accessible and welcoming to new generations.
Immacolata Concezione’s church
The church of “Immacolata Concezione” rises where the Strina family erected a chapel, which was opened for worship on May 26, 1618, dedicated to “Madonna della Pietà”. Completely destroyed by the eruption of Mount Vesuvius in 1631, it was rebuilt by the Strina family in 1635 with contributions from the faithful, who enlarged it in 1645. Further expansions were carried out between 1672 and 1742 with significant contributions from the heirs of the Colonna family. During this time, the church was elongated by adding two chapels that extended towards the royal road, a bell tower was built, and the original Pietà chapel was incorporated. Since 1926, it has held the title of the Parish of the Immacolata Concezione.
Every year on the Feast of the Immacolata Concezione (December 8), there is a traditional simulated burning of the bell tower, carried out by the national fire department.
The interior has three naves, in the central one we can admire the marble pulpit from which Saint Alfonso de’ Liguori preached in the 18th century, while looking up towards the barrel vault we are struck by the lacunars with the frescoes by the painter Vincenzo Bisogno, from Torre Annunziata, representing the birth of Mary, the presentation of Mary in the temple and the Immaculate Conception interceding with God to free Torre Annunziata from cholera. The canvas depicting the Crucifixion, attributed to Mattia Preti, attracts our attention as soon as we enter the church, on the right.
PROVOLERA’S DISTRICT: between arms and kindness
The “Real fabbrica d’armi”.
The establishment of the REAL FABBRICA d’ARMI in Torre Annunziata was commissioned by Charles of Bourbon in 1757 after his coronation in Spain, and begun, in 1758, by the architect Sabatini, a student of Vanvitelli, to whom is attributed the design that was the basis of the construction of the first core of the factory and the classic style of
the facade. This core is divided around two courtyards, the first of which is surrounded by two-storey buildings while the second by ground-floor buildings that made up the workshops and workplaces. To date, the ground floor of the factory has become a weapons museum while upstairs it is still inhabited by army officers. The construction was completed in 1760 by Ferdinando Fuga. The factory began business in 1761. The production of rifles definitively ceased in 1901. Today this wing, the oldest of the complex several times subjected to extensions, is decommissioned and to subtract it from the decay to which it is intended and favor its recovery, even functional, it needs adequate renovation and consolidation interventions.
Kindess murales.
Reviving a run-down neighborhood is no small feat. It requires resources,
passion, perseverance, commitment and determination, but above all the involvement of the inhabitants of the place, which must become an active part of the process of change.
Of course, no one has a magic wand. First of all that institutions invest resources to redevelop the neighbourhood (roads, lighting, public gardens, buildings crumbling, etc. ), but you can also start from the little things, from a project, from an idea.
And this is the case of the Provolera district of Torre Annunziata.
The ambassador of kindness, Anna Vitiello, who coordinates the implementation of the national project “Building Kindness”, in collaboration with the entrepreneur Rosaria Langella, with the Rotaract club and Project Crypt, is carrying out the initiative “Gentle Murals” to change the faces of the alleys of the neighborhood and cover them with color and beauty. This is thanks to the involvement of the inhabitants and numerous artists who are transforming a neighborhood, first often known for episodes of crime, in a place visited by schoolchildren in search of history and art.
The Provolera district starts in front of the Real Fabbrica D’Armi , an industrial plant for the manufacture of weapons and artillery components dating back to the 18th century.
The factory can be visited inside only prior request but also from outside observing the facade you can recognize the antiquity and the importance of the structure.
But where
does the name “Provolera come from?” From the dialectal version of the word “Powder Magazine”, because in that area, before the Real Fabbrica D’Armi, there was the Real Fabbrica di Polvere da Armi.
The district Provolera today represents, therefore, the rebirth of an area considered degraded.
Today, walking through the alleys of the neighborhood, through the murals we discover history, art, views of Torre Annunziata : the villa of Poppea, the rock of Rovigliano, Capo Oncino, the port dominated by the dome of the sanctuary ofthe Holy Spirit, but also the sea with its inhabitants, and abstract images that inspire joy and hope.
THE “GRAND SQUARE” IN TORRE ANNUNZIATA
Cesaro’s square.
Piazza Cesaro is one of the largest square in the province, as well as the beating heart of Torre Annunziata.
The first name of the square was “Largo di casa Pisacane”; it subsequently took the name of Largo S. Teresa due to the presence of the church of the same name. In 1861, after the unification of Italy, it took the name of Piazza dei Comizi. On 12 September 1906 in the waters of Torre Annunziata, to help his son Manlio, the great Torrese mathematician Ernesto Cesaro, so, to honor his memory, the Municipality decided to dedicate the square to him.
In the past there was a historic 15th century fountain, behind which there was a lava stone sound box. This square is a crossroads of daily life and is surrounded by historic buildings that tell the stories of the city’s past, including the Monumento ai Caduti which celebrates the courage and sacrifice of the soldiers who gave their lives to defend their country during the First World War. It was inaugurated in 1930 by Princess Mafalda of Savoy. The base is made of volcanic stone and is one meter and sixty centimeters high; on this stands a base of white stone from Trani, with two orders of steps located to the east and west of the monument. The central statue represents Victory, depicted by a marching woman holding the tricolor in her left hand and raising an oak branch in her right hand. On the sides there are two soldiers: one throwing the bomb, which represents the fallen young man from Torre Angelo Iovene; while the other represents Vincenzo Rocco, the Torrese hero awarded the gold medal.
The church of Saints Giuseppe and Teresa.
The Church of Saints Giuseppe and Teresa is an architectural jewel which dates back to the 17th century and stands in the center of Piazza Cesaro with its imposing facade characterized by neoclassical elements. It was built in 1633 by the Piccolomini family of Aragon and then etrusted, together with the adjoining convent, to the Franciscan Fathers through the intervention of King Ferdinando II of Bourbon.
Thanks to the design of the architect Carlo Sorgente, the exterior features an atrium with columns, elaborate frames and stone steps. Above the entrance door we find the ancient majolica depicting Pan Pasquale.
In 1867 the convent was abolished and transformed into a Civil Hospital and in 1934 the current convent was built, erect in height rather than in width.
On the walls there are fourteen smooth pillars of the Corinthian order with relative cornice.
On the main altar, inside the church, there is a 17th century canvas by an unknown artist which depicts Saint Teresa of Avila getting the Madonna to put out the fire of Vesuvius in 1631.
To the side of the altar there are paintings depicting Saint Francesco with his brothers, the Porziuncola, the Crucifix of San Damiano and a statue of Saint Pio.
On the left and right there are two chapels about 4 meters wide between which there are two arches of about 2 meters and five rectangular columns.
In the first chapel on the left there is a niche with the statue of San Francesco to the right of which is the Baptistery; while, in the second chapel there are three niches with the statues of Saint Giuseppe with Child, the Immaculate Conception and the Sacred Heart.
In the first chapel on the right there are the statues of the Baby Jesus, of Saint Antonio with the Child and of Giovan Giuseppe of the Cross; while, in the second chapel there are the statues of Santa Rita, San Pasquale and of the Addolorata.
GOLDEN MIRRORS AND BREATHTAKING VIEWS
Criscuolo’s palace.
The palace was erected by Nicola Gargano, an entrepreneur (wheat merchant), around 1860. It is currently the seat of the municipal administration. 
Noble palace , with two floors, is developed around a central courtyard, embellished on the ground floor by a small porch and upstairs by a balcony. Years ago, on the first floor, there was a private chapel, with the vault decorated with stucco still visible . The rooms overlooking Largo Porto were in ancient times used as a grain deposit, while today they have been redeveloped for use by municipal offices. In 1880 the palace became the property of Anassimene Criscuolo from whom in 1897 the Municipality of Torre Annunziata bought a part of it. It was further embellished with two cast iron lamps and a clock, still existing and functioning today. During the renovations, frescoes of historical interest came to light. Before being used as a town hall for many years it has hosted the identity museum where some of the historical artifacts found in the villas A and B of Oplonti were preserved and some weapons from the “Real Fabbrica D’armi” of Torre Annunziata.
Villa of Parnaso
Are you in Torre Annunziata? Among the stops on your itinerary, you cannot miss Villa del Parnaso, a place that encapsulates centuries of history and will enchant you with its fragrant gardens, the panoramic view of the gulf with Capri in front, and its timeless charm.
Built in the 18th century in a location already chosen in the 17th century and even earlier by the ancient Romans for the construction of a seaside villa with terraced gardens sloping towards the sea, the villa was once immersed in the greenery of gardens and cultivated areas, adorned with pillars, aviaries, fountains, and an artificial grotto.
Unfortunately, due to expropriations suffered in the 19th century for the construction of the Portici-Castellammare-Nocera railway line and the merchant port, today only the staircase remains of the villa, used to connect the main street of the city to the Marconi waterfront.
Descending the ancient staircase, adorned with lava stone fountains attached to the walls, not only gives a sense of freshness but also makes us feel transported back in history, participants in a timeless beauty. In the basement, in front of the pool, surrounded in the past by statues and stone seats, a tunnel, now closed, allowed private access from the villa to the sea. Next to the staircase, a block of building that housed the kitchen and service rooms will be restored. And so, Villa del Parnaso will offer us an even more magical and complete experience!
