The new city Cathedral had as a very troubled genesis, which it has dragged for decades due to the vicissitudes linked to the design and construction of the edifice, but also to some historical events of the Kingdom of Naples.

The work on the new temple started in 1783, when, having lost the the parish church of San Sebastiano due to a fire, the inhabitants of Caserta had to perform all the religious functions in the small Fifteenth century church of the Annunziata. To get a new church they referred directly to the king, who solicited the local authorities to launch the work. The project was entrusted to the court architect Giovanni Patturelli, but it did not convince the clients, who asked for the intervention of the sovereign precisely on the eve of the Carbonari uprisings of 1820/21. It was only then that King Ferdinand decided that the little church of the Annunziata had to be demolished to make space for a cathedral and he entrusted the new project to Pietro Bianchi. On the 30th of May 1822, the first stone was laid and ten years later the new church with three naves was inaugurated, and was a resounding failure. A new architect was then called, but his work was rejected as well. Only in 1837 the architect Pietro Valente was in charge of the renovation of the Cathedral. He directed the Academy of Fine Arts, of which he revolutionised the pre existing structure, giving it a decidedly neoclassical imprint and calling the best artists of the moment to embellish it. They finally reached the inauguration of the Cathedral, dedicated to Saint Michael the Archangel, in February 1842 and King Ferdinand II and Queen Maria Teresa also participated in the solemn ceremony. Over time, other minor interventions and other embellishments would follow, until the last intervention in 2014, which restored the basements, where crypts were created preserving the archaeologic finds found in the Caserta area and which house works by contemporary artists.

On the façade of the Cathedral there is the staircase in Bellona stone, which gives access to the three entrance portals to which correspond the three naves inside, separated by columns. The central nave is covered by a coffered ceiling decorated with stucco. Between the nave and the transept there is the Triumph of Saint Michael the Archangel over the evil by Luigi Taglialatela. The apse has frescoes depicting the Twelve Apostles and biblical episodes. Among the chapels, one is dedicated to Sant’Anna, patron saint of the city.