San Gennaro all'Olmo

The church of San Biagio Maggiore also known to its locals as 'Santa Patrizia' is a small former religious edifice located at the intersection of Via San Biagio dei Librai and Via San Gregorio Armeno, which was an integral part in the city center of Naples, Italy. It is adjacent, and for many years integral to the church of San Gennaro all’Olmo.

The Palazzo Marigliano, also known as Palazzo di Capua is a Renaissance-style palace in Central Naples, Italy. It is located on the Via San Biagio dei Librai number 39.

The Palazzo of Monte di Pietà is a historic building located along the lower decumanus (East-West road) of Naples, Italy. The lower decumanus is also known as Spaccanapoli street. It housed the Mount of Piety or Christian bank in Naples.

San Gregorio Armeno ("St. Gregory the Armenian") is a church and a monastery in Naples, Italy. It is one of the most important Baroque complexes in Naples. The church is located on a street of the same name just south of Via dei Tribunali and a few blocks south of the church of San Paolo Maggiore, Naples

The State Archives of Naples (Italian: Archivio di Stato di Napoli), with its more than 50,000 linear meters of book and document shelving, is of fundamental importance for the history of southern Italy from the 10th century to today. The archives are housed in the cloisters of the Church of Saints Severino and Sossio.

Santi Filippo e Giacomo is a Renaissance style, Roman Catholic church in Naples, Italy, located on Via San Biagio dei Librai, near the churches of San Biagio Maggiore and Santa Luciella. In 1593, the church was commissioned by local merchants and tradesman in the zone. The church we see today is the product of a 1758 reconstruction by Gennaro Papa. The concave/convex facade recalls the style of Borromini; and the top level niches hold statues of Religion and Faith by Giuseppe Picano, while the lower level has statues of St Phillip and St James by Giuseppe Sanmartino. The pavement was designed by Giuseppe Massa, and the holy water fonts by Domenico Antonio Vaccaro. The frescoes in the choir, nave and walls were completed by Jacopo Cestaro. He also painted the Evangelists on the cupola and St Phillip and Jacob in the presbytery.

The Macellum of Naples was the macellum or market building of the Roman city of Neapolis, now known as Naples. Due to the rise of the ground level the macellum is now located beneath the church of San Lorenzo Maggiore. The first construction dates to 5th or 4th century BC when the area was the location of the agora during the Greek period. When Neapolis became a Roman possession it was eventually transformed into a macellum. This structure was covered by a mudslide in the 5th century AD, probably as a result of flooding.An early Christian basilica was constructed over the remains of the covered macellum. Consequently, this basilica was replaced by new construction over the centuries. As a result, the mud slide preserved the remains of the macellum. The macellum had an entrance to the north, where the Via dei Tribunali runs now. The rectangular building consists of a porticoed area with workshops and an internal open courtyard with mosaic floors. In the middle of the courtyard was a tholos, a circular building used for food selling. Small tabernae, a laundry and the treasury can still be recognized.Today the macellum can be visited as a part of the monumental complex of San Lorenzo Maggiore.

San Lorenzo Maggiore is a church in Naples, Italy. It is located at the precise geographic center of the historic center of the ancient Greek-Roman city, at the intersection of via San Gregorio Armeno and via dei Tribunali. The name "San Lorenzo" may also refer to the new museum now opened on the premises, as well as to the ancient Roman market beneath the church itself, the Macellum of Naples. The church's origins derive from the presence of the Franciscan order in Naples during the lifetime of St Francis of Assisi, himself. The site of the present church was to compensate the order for the loss of their earlier church on the grounds where Charles I of Anjou decided to build his new fortress, the Maschio Angioino in the late 13th century. San Lorenzo actually is a church plus monastery. The new museum takes up the three floors above the courtyard and is given over to the entire history of the area that centers on San Lorenzo, beginning with classical archaeology and progressing to a chart display of historical shipping routes from Naples throughout Magna Grecia and the Roman Empire. The museum provides a detailed account of the local "city hall" that was demolished in order to put up the church in the 13th century and continues up past the Angevin period and into more recent history. Beneath San Lorenzo, about half of an original Roman market has been excavated. The site has been open since 1992, the result of 25 years of painstaking excavation. The market place is the only large-scale Greek-Roman site excavated in the downtown area. In this church Boccaccio met his beloved Fiammetta (1338).

The Palazzo Diomede Carafa, also known as Palazzo Santangelo, or Santagelo Carafa, is a monumental Renaissance palace on Via San Biagio dei Librai #119–121 in central Naples, region of Campania, Italy. Across the street from the facade is the church of San Nicola a Nilo; on the Eastern flank, across a vicolo of the same name, is the church of Santi Filippo e Giacomo.

San Nicola a Nilo is a Baroque-style Roman Catholic church on Via San Biagio dei Librai #10, in the center of Naples, province of Campania, Italy. It stands across from the Palazzo Diomede Carafa.

The Fontana della Sellaria or Selleria is a Baroque public fountain on piazzetta del Grande Archivio in Naples, Italy. It was commissioned in 1649 from Onofrio Antonio Gisolfi by Íñigo Vélez de Guevara to commemorate the latter's suppression of the Neapolitan Republic.

The church of Santi Severino e Sossio and the annexed monastery are located on via Bartolommeo Capasso in Naples, Italy. The church is attached to one of the oldest monasteries in the city, and from 1835 it has housed the State Archives of Naples. It was founded in the tenth century by the Benedictine Order, but the Saracen raids of the time forced them to abandon the old monastery, located on the hill of Pizzofalcone, taking the relics of San Severino with them. In 904 they added to these the relics of San Sossio, martyred companion of San Gennaro. They remained here till 1808, when they were taken to Frattamaggiore. During the Angevin reign a number of important events occurred in this monastery, such as the convening of parliament in 1394 by the Sanseverino family, who were supporters of Louis II of Anjou. In 1490, the architect Giovanni Francesco Mormando from Calabria laid the foundations of the present church, which was completed by the 16th century by Giovanni Francesco di Palma. The cupola built in 1561 was one of the first in Naples, designed by the Florentine architect Sigismondo di Giovanni. The frescoes of the cupola (1566), now lost, were originally painted by a Flemish painter by the name of Pablo or Paolo Schepers. Other painters active in the church comprised a polyglot series of artists, including Marco Pino of Siena, Benvenuto Tortelli of Brescia, Bartolomeo Chiarini of Rome, Cosimo Fanzago of Bergamo, and lastly Fabrizio di Guido from Carrara. The last painter was active in the Medici chapel. . There is a long tradition of Tuscan artists residing in Naples, and was stimulated by the arrival of a group of master artisans from Carrara in the late 1500s, after the marriage of Alberico Cybo Malaspina and the Neapolitan Isabella of Capua, from the Duchy of Termoli. But there had already been a large contingent of Tuscan traders and financiers in Naples. For example, Antonio Piccolomini used the Strozzi family to negotiate having Antonio Rossellino and Benedetto da Maiano participate in the decoration of the Piccolomini Chapel in the church of Sant'Anna dei Lombardi. In addition, Tino di Camaino and Giotto apparently visited Naples under Angevin patronage.The decor of the chapels of Santi Severino e Sossio follows a pattern common to late Renaissance Neapolitan chapels: a reclining figure embedded within an architectural arched entablature, and the large altarpiece framed like a tabernacle, with lateral walls also holding paintings, and the lunettes painted in fresco.The wooden choir (1573) was designed by Benvenuto Tortelli da Brescia, and became a model for others in Southern Italy. In fact, monks from the Benedictine convent of San Martino delle Scale in Palermo requested a choir that "conformed" to that of San Severino. It also influenced other choir stalls and woodwork, including San Paolo Maggiore completed in 1583 by Giovan Lorenzo d'Albano (destroyed in last war), work in the sacristy of Santa Caterina a Formiello and S. Maria delle Grazie a Caponapoli (works by Martino Migliore), and finally the choirs in the church of Santi Apostoli, Santa Maria la Nova, and the Cathedral (1616) by Marcantonio Ferraro. Construction continued in the 18th century by Giovanni del Gaizo, who finished the facade using a design by Giovan Battista Nauclerio. When the Benedictines were expelled in 1799, the convent was occupied by the order of Sanfedisti and in 1813, became the collegio di Marina. In 1835 it became the archive of the state, which is still its present function. In the apse of the church main altar and the balustrade of presbytery (1640) were made and designed by Cosimo Fanzago. In 1783 the main altar was remodeled by Giacomo Mazzotti, the floor dates to 1697. The church has a Latin cross plan with seven chapels on each side and a deep rectangular apse. The nave frescoes and canvases were painted by Francesco de Mura, while the lateral chapels include works of the painter Marco Pino and the neapolitan sculptor Giovanni da Nola. Of note, is the funerary monument of Camillo de' Medici, completed by Girolamo D'Auria at the end of the 16th century. Through the sacristy one can access the lower church, built and decorated in Renaissance style, completed by Mormando.