The St. Matthew Cathedral founded by Roberto the Guiscard and consacrated by Pope Gregory VII, was officially opened in March 1084. The present structure dates back to the earthquake of 5 th June 1688, when it was completely rebuilt. The main entrance has been altered and the courtyard is surrounded by a covered walkway supported by twenty eight plain columns with arches and a series of Roman tombs around the walls. On the southern side of the cathedral stands the bell tower which dates back to XII century. One enters the cathedral through a bronze byzantine door. In the centre nave are the celebrated amboni decorated with sculptures and mosaics dating back to the last decade of the XII century. In the Treasure Chapel, one can admire the many gothic relics including St. Matthew's arm and the statue of the Salerno Martyrs. The crypt is situated under the main alter. The crypt area is made up of nine rows of three bays with a cross shaped vault which resta on pillars. In the 12700s it was restored by Domenico Fontana, who designed the vault in alternate octagonal and circular sections surrounded by stuccoes and paintings. He designed the double main alter where two masses can be celebrated simultaneously.

San Pietro a Corte is the most import Longobard foundation existing in the town having once been the seat of the princely court.
The structure is built on different vertical levels which start with the roman thermal baths in the foundations to the high palatine chapel which stands several metres above, transformed in the modern age to the Regal Abbey. According to historical sources the building was commissioned by Prince Arechi II, who in 787 moved the capitol of the Minor Longobard Dukedom from Benevento to Salerno. The structure of the palatine chapel, built on large pillars, stands on the fridarium of a thermal bath dating to the imperial age of the II century, subsequently used as a buriel ground by the first christian community in Salerno.
Above the foundations, covering the same area, is a wide hall which must have once been the Palatine Chapel, part of a larger complex which could only be reached from a higher level and not from below. This area was first adjusted in 1567 by Decio Caracciolo who provvided the actual stairway and by the Rector Pignatelli towards the end of the 1600s
A series of wall paintings which underline the bizantine influence of the late 12 th century have come to light in the hypogeum area of the structure. Belonging to the modern age – late mannerist period - is a large alter piece, dating to 1590 portraying the madonna with child and saints.
A small bell tower dating to no later than the middle of the 12 th century, stands on the northern side of the church.
Attached to the medieval complex is a small chapel called Sant'Anna whose face is painted with Marian scenes, work of the artist Filippo Pennino belonging to the second decade of the 18 th century.
On the wall next to San Pietro a Corte, we are referring to the southern one of the chapel, is a second painting portraying Saint Ann with the Virgin child and two saints , which dates to no later than the 16 th century.

San Giorgio is one of the most beautiful baroque churches in Salerno, containing frescoes of high quality. Up until the suppression, it was part of a convent of benedictine nuns; today it has been transformed into a barracks for the Guardia di Finanza (Customs and Exiles) and the Carabiniere.
It is one of the oldest monastical seats in Salerno dating to the beginning of the 9 th century.
The remains of a frescoed apse which were recently brought to light belong to this period.
At the end of the 16 th century, all the nuns from the other benedictine convents (Santa Sofia, San Michele and Santa Maria Maddalena) , were transferred to the San Giorgio Monastery.
In 1711 the monastery was enlargened following a new project elaborated by Ferdinando San Felice, a well known neapolitan architect. The interior walls of the church are covered with mural and canvas paintings.
In 1675, Angelo Solimene put his signature to a series of paintings on the vault of the choir portraying the Passion. It is thought the work started earlier involving a well equipped artists' workshop. The decoration is made up of a series of pannels portraying the story of Saint Benedict, whilst heaven is painted on the dome on the same lines as the work carried out in 1641 by Lanfranco in the Chapel of Treasure in the cathedral of San Gennaro in Naples.
In 1680, Francesco Solimena painted three wall pannels in the chapel dedicated to the saints Tecla Archelaa and Susanna, portraying the saints being conducted to martydom, the vision of Sister Agnata and the saints in meditation (little is left to view). These paintings are some of the first works of the renowned painter.
Among the other paintings in the church considered to be of great importance, are “the Virgin with child, saints and a praying nun by Andrea Sabatini dated 1523; the Martyr of St. Girogio dated to the first decade of the 17 th century, three canvases portraying St Gregorio Magno, the holy family with St. Giovannino, the vision of St. Nicola of Bari dated to 1699; works of Giacinto De Populi; St. Michael the Arcangel dated 1690 by Francesco Solimena and some canvases portraying The Virtues by Paolo De Matteis dated to the beginning of the 18 th century.
The solid marble high alter in tarsia with bas-relief and sculptures is also of great value

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