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The Basilica of Santa Maria a Pugliano is the main church in Ercolano and the oldest church in the area around Mount Vesuvius.
The church contains two pagan marble sarcophagi from the 2nd and 4th centuries AD, later adapted into Christian altars, probably in the 11th century. There are records of an oratory dedicated to the Virgin Mary in the 11th century on a hill called Pugliano. During the following centuries the church's popularity increased more and more and pilgrims flooded here from everywhere.
In the early years after the Council of Trent the church obtained formal acknowledgement of its eminence: in 1574 was first mentioned as basilica. In that century main works were made to enlarge and embellish the church. During the eruption of 1631 the churc was miraculously spared by the lava. Some years later a new street (via Pugliano) was built on the solidified lava to easily reach the church from the town centre.
The church is worth a visit for its remarkable history and art treasures: the massive 36-meter high belfry from the end of the 16th century is one of the oldest of the area. Inside the church, there are sarcophagi from the 2nd and 4th centuries AD, that prove the existence of inhabitants in the area of Herculaneum in the aftermath of the eruption in AD 79; the exquisite wooden statues of Madonna di Pugliano and Black Crucifix, both of the 14th century; the font of 1425, one of the oldest outside the cathedral of Naples; the high altar, of the 16th century; the wooden bust of St. Januarius of the 17th century, the magnificent wooden pulpit of 1685, coeval to the wooden choir and behind the altar. Most of the paintings were made by local artists in the 16th and 17th centuries.
The Madonna di Pugliano is worshipped since ever, but before the statue of the 14th century the painted Byzantine-like Madonna di Ampellone was venerated. The main patronal festival is on 15 August, Assumption Day. A special worship is dedicated to St. Januarius, that is co-patron of Ercolano; the statue of the saint has always been carried in procession during the eruptions of Mt. Vesuvius toward the lava front. A bust of St. Januarius facing Mt. Vesuvius was frequently erected in villas and buildings to protect them by the fury of Mt. Vesuvius.
References:Monastery of São Vicente de Fora (Monastery of St. Vincent Outside the Walls) is a 17th-century church and monastery in the city of Lisbon. It is one of the most important monasteries and mannerist buildings in the country. The monastery also contains the royal pantheon of the Braganza monarchs of Portugal.
The original Monastery of São Vicente de Fora was founded around 1147 by the first Portuguese King, Afonso Henriques, for the Augustinian Order. The Monastery, built in Romanesque style outside the city walls, was one of the most important monastic foundations in mediaeval Portugal. It is dedicated to Saint Vincent of Saragossa, patron saint of Lisbon, whose relics were brought from the Algarve to Lisbon in the 12th century.
The present buildings are the result of a reconstruction ordered by King Philip II of Spain, who had become King of Portugal (as Philip I) after a succession crisis in 1580. The church of the monastery was built between 1582 and 1629, while other monastery buildings were finished only in the 18th century. The author of the design of the church is thought to be the Italian Jesuit Filippo Terzi and/or the Spaniard Juan de Herrera. The plans were followed and modified by Leonardo Turriano, Baltazar Álvares, Pedro Nunes Tinoco and João Nunes Tinoco.
The church of the Monastery has a majestic, austere façade that follows the later Renaissance style known as Mannerism. The façade, attributed to Baltazar Álvares, has several niches with statues of saints and is flanked by two towers (a model that would become widespread in Portugal). The lower part of the façade has three arches that lead to the galilee (entrance hall). The floorplan of the church reveals a Latin cross building with a one-aisled nave with lateral chapels. The church is covered by barrel vaulting and has a huge dome over the crossing. The general design of the church interior follows that of the prototypic church of Il Gesù, in Rome.
The beautiful main altarpiece is a Baroque work of the 18th century by one of the best Portuguese sculptors, Joaquim Machado de Castro. The altarpiece has the shape of a baldachin and is decorated with a large number of statues. The church also boasts several fine altarpieces in the lateral chapels.
The Monastery buildings are reached through a magnificent baroque portal, located beside the church façade. Inside, the entrance is decorated with blue-white 18th century tiles that tell the history of the Monastery, including scenes of the Siege of Lisbon in 1147. The ceiling of the room has an illusionistic painting executed in 1710 by the Italian Vincenzo Baccarelli. The sacristy of the Monastery is exuberantly decorated with polychromed marble and painting. The cloisters are also notable for the 18th century tiles that recount fables of La Fontaine, among other themes.
In 1834, after the religious orders were dissolved in Portugal, the monastery was transformed into a palace for the archbishops of Lisbon. Some decades later, King Ferdinand II transformed the monks' old refectory into a pantheon for the kings of the House of Braganza. Their tombs were transferred from the main chapel to this room.