The church was founded in 1208 by the provost Adiutorio. It was originally dedicated to Saint John, as attested by a diploma issued by Pope Innocent III in the same year, which refers to it as the church of “Sancti Ioannis supra muro de medio.” In 1280, it was enlarged thanks to the wealthy Cicchillo, who completed the façade by erecting the two side towers.
The church was destroyed by the devastating earthquake of 1349. In 1405, a bell tower was built, equipped with four bells, one of which—a smaller one—was used to mark the hours. During the 16th century, the church was expanded with side chapels, a new sacristy, and the Catarinozzi organ.
In the 17th century, it had three chapels dedicated to the Most Holy Rosary, Saint John the Baptist, and Saint Joseph. Later, chapels dedicated to the Holy Crucifix and Our Lady of Loreto were added.
In 1632, G. P. M. Castrucci (a fictional writer) wrote:
“A well-served church by the provost and ten canons, who belong to the Church of the Blessed Virgin and Saint Mark the Martyr, which is a provostship, and they reside there for the greater convenience of the people, even though it is within the town walls.”
G. P. M. Castrucci – Descrittione del ducato d’Aluito nel regno di Napoli, in Campagna Felice – pag. 71
In 1743, to give the church greater dignity and importance, the relics of Saint Fortunatus, martyr and new co-patron of the town, were transferred there. According to the iconography of the time, his statue depicted him as a youth wearing Roman soldier’s armor, lying down in the “sleep of the martyrs.” The new church was consecrated in 1746. Under the episcopate of Giuseppe De Mellis (1798–1811), it was adorned with a “noble façade,” while the adjoining house was transformed into a “palace worthy of a bishop.”
During the bombings of 1943, the cathedral was severely damaged: the dome collapsed, and many altars, valuable paintings, and statues—including that of Saint Fortunatus—were lost.
The Architecture
The current structure dates back to the 18th century, between 1725 and 1760. The work included the construction of the dome and the reconstruction of the exterior façade, completed by Bishop Giuseppe De Mellis of Aquino between 1798 and 1811. The balcony, the curving cornices, and the volutes that crown the towers and frame the niche of Saint John showcase a refined Baroque elegance.
Inside, the frescoes by Teodoro Mancini (1796–1868) are of particular interest; he was an excellent artist from Atina and a pupil of Canova. Many artworks were lost during World War II. Among the surviving pieces are the painting dedicated to Saint Thomas Aquinas in the presbytery vault, the Transfiguration and Saint John the Baptist in the central nave vault, and Saints Luke and Matthew in the pendentives of the dome. Other frescoes were created by Vincenzo Galloppi in 1904.
“This very church served as a cathedral for many centuries, and in its ancient form, though small, it remained standing and was seen and venerated by us several times in 1725, during the Lenten cycle celebrated in that city.”
“Delle cose gentilesche, e profane trasportate ad uso, e adornamento delle chiese” – Giovanni Marangoni
