From the panoramic Via Petrarca, from Posillipo and from the noble ventricle of the heart of the metropolis of today, the blue currents still ripple the surrounding of what is both gouache and novel: the near and distant profiles of Ischia, Procida, Capo Miseno, Capri, the Sorrentine Peninsula; and then the "postcard" of Vesuvius, the urban maze revealed by the eastern towers of the city, the palaces, monuments and churches of an immense historic center, from the Certosa of S. Martino and Castel Sant'Elmo to the Maschio Angioino, to the Castel dell'Ovo.
And the fantasy of the contemporary traveler is lost in the alleys, after having crossed Piazza del Plebiscito, almost touching the Royal Palace, the San Carlo Theater, and via Toledo, aiming here and there at the surprising green spots of Capodimonte, at the fields and parks of Posilippo and the coastal cliffs of yellow tuff. The moving snapshot of the "seatown with inhabitants", an emblematic definition of Luigi Compagnone, tells of a finally adult and European mermaid that found the momentum in her sea to feel at the crossroads of progressive routes. Naples is linked to the world, also thanks to the incredible heritage of Neapolitan creativity, artisanal, classy, non-oleographic, which crossed borders. Sign of an originality that doesn't give up on reflecting itself in the reconquered seafront with its popular beaches and the evening strolls of Mergellina, and without completely forgetting the mandolin and the serenade; or the coffee, sfogliatelle and babà, continuing to celebrate the best pizza in the world. Beyond the clichés, the times in Naples are never the same, and the speed of change is the sign of an activism that can be felt in the versatility of universities, humanistic culture and scientific research, in the literary fibrillation and in the artistic impulses also witnessed in the stations of the new metro; and in the classical modernity preserved by theatrical, musical and worldly events.
The heart of Napoli
The birth of the city dates back to the first half of the 5th century BC. At that time Cuma, which became the most important Greek colony on the coast after the transfer of the Calcidesi and Eretriesi who had first settled in Pithekoussai (Ischia), moved its expansionist aims to the south-east, giving life to the new city, i.e. "Neapolis". In fact, an older center was enlarged, "Palaepolis", already inhabited by the people of Rodi. The link with the large Aegean island refers to the myth of the foundation and the arrival of the remains of one of Ulysses' enchanting sirens, who was indeed called Partenope.
The essential itinerary must have Plebiscito Square as starting point, which is surrounded by the semi-elliptical porch of the Church of S. Francesco di Paola and by the Royal Palace on the main sides; on the other sides are Palace Salerno and the Palace of the Prefecture, while in the adjacent Piazza Trieste e Trento is the Church of S. Ferdinando which completes the monumental circuit of the area with the Theater of San Carlo and the Gallery Umberto I Gallery.
The Church of S. Francesco di Paola, with a central plan with a cupola that recalls the one of the Pantheon in Rome, was erected between 1817 and 1846 as an ex voto for the return of Ferdinand of Bourbon to the throne of Naples after the Napoleonic uprisings: an imposing sign of a re-conquested power. It dominates the Piazza del Plebiscito with the bronze equestrian statues of Charles III and Ferdinand I.
The Royal Palace is symbol of Spanish greatness and was built, based on a design by the great architect Domenico Fontana, in a strategic place, not far from the port and in front of a plain perfect for military parades and large gatherings of people. It was in 1600 and two years earlier Fernandez Ruiz de Castro had been appointed viceroy of Naples by Philip III. The main façade (169 meters long), the courtyard and part of the interiors retain the 17th century layout, but over time numerous changes have been made, under the Bourbons and up to the Napoleonic period with Gioacchino Murat, for over two hundred years , with the involvement of other well known architects such as Luigi Vanvitelli and Ferdinando Fuga. In 1734 Naples became the capital of the Kingdom of the Two Sicilies and it was Ferdinand IV who gave a strong impulse to the completion of the palace by having the Court Theater built in 1768 by Ferdinando Fuga, and the eastern arm, which has been used since 1927 to National Library. Walking through the Throne Room, the Ambassadors Room, the Royal Chapel, starts a context of eighteenth-century splendor: furniture created by Neapolitan ebony workers, furnishings, carpets and tapestries of French manufacture and of the Royal Tapestry of Naples, paintings of the '500 and of the '600 and paintings of the Caravaggesque period, porcelain and artistic artifacts of absolute value.
Connected to the Royal Palace, there is the beautiful San Carlo Theather, the oldest opera house in the world, built by the will of Charles of Bourbon and inaugurated on November 4, 1737. The project was drawn up by the architects Medrano and Carasale. A masterpiece. A fire devastated it in 1812, but it was rebuilt by Antonio Niccolini, who also equipped it with two 70-meter deep circular shafts to improve its acoustics. The first Italian dance school was founded there and hosted many of the first performances of important works by Rossini, Verdi, Bellini, Donizetti. It can accommodate 1380 spectators.
In front of the theater there is a traditional meeting point, the Gallery Umberto I, which, with its cross structure, highlights a neo-Renaissance structure typical of the late 19th century: It infact recalls to the Gallery Vittorio Emanuele II in Milan. In the center there is a cupola 56 meters high, while the four arms are surmounted by barrel vaults. The polychrome marble floors with a central exedra depict the zodiac signs and the cardinal points.
At its exit, starts via Toledo, that separates the harbour area from the Spanish Quarters, the checkerboard housing complex that stretches up to the Vomero hill. Here the viceroy Pedro de Toledo placed the quarters of the Spanish army and today, in a jumble of picturesque alleys, amidst unmistakable popular atmospheres, there is a slice of the Neapolitan identity.
But, to begin the unmissable itinerary in the immense historic center of Naples, declared a World Heritage Site by Unesco, Piazza del Gesù Nuovo has to be reached: it is the beginning of the heart of the Greek-Roman city, in a maze of streets and alleys forming a perfect orthogonal network. The three Roman decumans cross with the hinges. This is where Spaccanapoli begins, which is the straight succession of via Benedetto Croce, via San Biagio dei Librai and via Vicaria Vecchia.
Piazza del Gesù is characterized by the Spire of the Immaculate Conception with, on the top, the statue of the Virgin: it was built in 1747 with the funds of a public collection promoted by the Jesuit Francesco Pepe. It has a rich decoration, an example of Baroque luxury that symbolized the religious power of the Jesuit order. The very Jesuits had bought the 15th century Palace Sanseverino, transforming it between 1584 and 1601 into the splendid Church of Gesù Nuovo. The Baroque portal incorporates that of the '500 in white marble, which stands out against the gray background of the characteristic diamond tipped ashlar facade of 1470. The church plan is in Greek cross with three naves and is a triumph of Baroque style and culture, among polychrome marbles and frescoes, such as those by Francesco Solimena on the counter-façade: The expulsion of Eliodoro from the temple. The interiors were set up with the contribution of major artists of the time active in Naples: Solimena, Luca Giordano, Cosimo Fanzago, Belisario Corenzio and many others.
A few meters away is another of the most fascinating places in Naples: the monumental complex of S. Chiara with the basilica and the monastery that was one of the first to be built in the historic center. The Angevin kings at the beginning of the 14th century destined it to house the family tombs. The courtyard of the church, a splendid example of Provençal Gothic, is accessed through an imposing 14th century, while the bell tower retains the original Gothic forms found inside the basilica, completely restored after the fire and the effects of the bombings of 1943. There are twenty chapels(ten for side) positioned above the single nave of the church, while at the center of the presbytery there are the remains of the tomb of the literate king Robert of Anjou (it was the largest medieval funeral monument). The Choir of the Nuns was decorated in 1328 by Giotto (only a few fragments are preserved): from here starts the garden and the famous majolica Cloister of the Clarisse, the work - in 1739 - of Domenico Antonio Vaccaro, creator of the decoration of the seats with majolica tiles signed by Donato and Giuseppe Massa: there are depicted scenes of the fields and seascapes that intersect harmoniously with the vine shoots and lemons of the pergola, in a triumph of colors of blue, green and yellow. The Museum of the Opera of S. Chiara preserves objects, sculptures and decorative elements of the Franciscan citadel: it was found among the remains of a Roman thermal building of the first century.
From via Benedetto Croce, shops and stores, in a succession of colors and perfumes and profound sensations, very modern, young and ancient at the same time. Along the way stands Palace Filomarino, stage of clashes and destruction during the Neapolitan revolution of 1799. Don Benedetto Croce, one of the greatest voices of Italian culture of all times, lived and died in the palace.
St. Domenico Maggiore's square is defined by a choir of noble palaces: Palace Casacalenda, Palace Petrucci, Palace Corigliano, Palace Sangro of Sansevero. The Spire of St. Domenico Maggiore is a crucial point of reference: it was built after the plague of 1656 in Baroque style (work of Fanzago and Vaccaro)
St. Domenico Maggiore is one of the most important churches for its antiquity and artistic wealth. It was frequented by St. Thomas Aquinas, Giovanni Pontano, Tommaso Campanella and Giordano Bruno. Built between 1283 and 1324, it has received numerous restorations. In the 16th century, the Dominicans, with their erudite tradition, introduced the teaching of Greek, civil law and canon law to what had become the seat of the university. The main entrance of the church consists of a 14th century doorway inserted between two Renaissance chapels, while the interior in three naves with side chapels has neo-Gothic decorations overlapping the 16th century ones in the mid 19th century. It houses works by Luca Giordano, Mattia Preti, Francesco Solimena, Pietro Cavallini.
Hidden in an alley there is the famous, small Chapel Sansevero, that houses the works, alchemy and creations of the brilliant Raimondo di Sangro, prince of Sansevero, writer, literary man, inventor and experimenter, as well as grand master of the Masonry: he restored the family sepulchral chapel in 1710-1770 following a complex symbolic iconography. The statues of Veiled Modesty, Disillusionment and the sculpture of the famous Veiled Christ by Giuseppe Sammartino retain an exceptional mysterious charm.
Over Nilo's square, in the university area, starts via St. Biagio dei Librai evoking a centuries old history of typographies and printing works that animate cultural life. Starting with stalls and shops, touching palaces such as the Monte di Pietà and Carafa Palace; looking at the former convent of Santi Severino e Sossio (later State Archives of Naples) which at the end of the 16th century housed Torquato Tasso, up to the intersection of St. Gregorio Armeno, the glowing via dei presepi, the gigantic outdoor exhibition of corks , models of wood and rag paper that during the Christmas period becomes a synthesis of the Neapolitan tradition, the most colorful and original market in the world, that of the shepherds. The Church of St. Gregorio Armeno, with the monastery, also deserves a thoughtful visit: the first nucleus dates back to the 8th century on the remains of a pagan temple, the reconstruction dates back to 1580.
The plan of the church has a single nave, the carved wooden ceiling is just one of the many artistic aspects of absolute importance that can be admired inside. The frescoes on the counter façade are by Luca Giordano representing the story of the Armenian nuns, the founders. In the fifth chapel are kept the relics of Saint Patrizia, much venerated by the Neapolitans: she is one of the patrons of the city and every Tuesday the miracle of the liquefaction of the blood is repeated.
Going up, there is the central decumanus, via dei Tribunali, a fundamental stop id the Church of St. Lorenzo Maggiore: it is here that on March 30th 1336 Boccaccio met his Fiammetta, which real name was Maria d'Aquino, daughter of Roberto d ' Anjou. Charles I of Anjou had it built starting in 1266 and it was finished in 1324 and modified several times. The glorious shapes of the interior in terms of height and width are typical of the French Cistercian Gothic: a triumphal arch separates the nave from the transept. The excavations in the cloister brought to light the Greek, Roman and medieval stratifications. Neapolitan deputies and municipal authorities gathered in the refectory hall, and the place became known as the Court of St. Lorenzo.
It should be remembered that the whole area corresponds to the acropolis of the Greek-Roman city and the thousand year old housing elements are still visible almost everywhere, among paleochristian basilicas and superimposed medieval churches.
From the nearby and small St. Gaetano Square, starts the Underground Naples, the excursus into the bowels of the city (the other entrance is in Piazza Trieste e Trento), an enveloping and fascinating journey through myths, legends and much more, in a labyrinth of tunnels, cisterns and cavities that extend under the entire historic centre for several kilometres.
Not far stands the Church of the Souls of Purgatory in Arco, at the intersection with via Nilo and via Atri, is a landmark in the protean circuit of popular devotion: for the women of the neighbourhood the Blessed Lucia, who is venerated here, is symbol of fertility. The church dates back to 1616, when it was built for the suffrage of "souls in pain". The decoration with skulls and crossbones together with hourglasses is of Spanish taste: a symbology of anthropological interest that is linked to the reasons of interest of the Church of St. Peter ad Aram and the Graveyard Fontanelle alla Sanità . The Baroque works of art are noteworthy.
Further on is the Complex of St. Peter at Maiella which houses the glorious Conservatory of Music, one of the most illustrious in Italy. It boasts an extraordinary specialist library among the most important in the world for autographed materials.
From the nearby Bellini Square we move to Port’Alba, chosen place for bookstores, up to Dante Square. It’s also possible to continue along via Costantinopoli (with its antique shops) until reaching the National Archaeological Museum, one of the cultural highlights of the city and one of the most important of all for classical antiquity, not only in Europe. An unforgettable historical itinerary takes place through an exceptional series of finds, from pre-Roman Campania to the testimonies of Magna Graecia, from the important Egyptian section to the testimonies of Pompeii, to the extraordinary Farnese collection. Do not miss the Salone della Meridiana and the Secret Cabinet with the collection of erotic themes from the Roman period.
On the great artery of Via Foria, moving towards Albergo dei Poveri with the imposing façade signed by Ferdinando Fuga, yhe monumental wall of the Botanical Garden can be admired. Established in 1807, with a decree by Giuseppe Bonaparte, as the Royal Garden of Plants: very rich in collections and species, it is directly connected to the university .
Returning back to via Tribunali, choosing to continue east, stands Pio Monte della Misericordia, one of the oldest assistance and charitable institutions in the city founded in 1602: houses a rich collection of works of art in the Pinacoteca and, above all, in the church, The Seven Works of Mercy, the large canvas that Caravaggio executed between 1606 and 1607. The church has an octagonal plan, with seven altars with as many frescoes above them that refer to the corporal works of mercy
A fundamental deviation is the one leading to the Duomo. The Gothic-Provençal style was built and incorporated the early Christian cathedral of Santa Restituta and the 4th century Baptistery of St. Giovanni Fonte. Inside, the splendid mosaic by Lello da Orvieto with the Madonna and St. Gennaro and Restituta: it dates back to 1322. The facade of the new cathedral is neo Gothic, but the portals are from the 15th century; in the central fanlight the Madonna and Child by Tino da Camaino. The plan is a Latin cross with three naves, and is a real art gallery, a representation of the millenary cultural stratifications of the city. The Minutolo Chapel is considered one of the most interesting examples of Gothic in Naples (the floor is mosaic with animals). The Royal Chapel of the Treasure of St. Gennaro was built following a vow offered by the city to the patron saint after the plague epidemic of 1656. A masterpiece of the Baroque: here the ampoules with the blood of St. Gennaro are kept, in an extraordinary context of sacred furnishings, silverware, candelabra and reliquaries, and the bust of the 14th century studded with precious stones, which is exhibited in May and September during the blood liquefaction ceremony. The frescoes in the dome are the work of Giovanni Lanfranco; those of the vaults, lunettes and pendentives are by Domenico Zampieri known as Domenichino. The oil on copper of the median altar depicting St. Gennaro coming out of the furnace unharmed is by Jusepe de Ribera. Next to the chapel not to be missed is the Museum of the Treasure of St. Gennaro, an exhibition of collections of jewels, sacred furnishings, artistic fabrics, statues and paintings of the highest historical and artistic value. Of particular interest is the silver collection, with pieces from 1305 to the contemporary age, all the work of Neapolitan masters.
With an ideal jump we move to the seafront of Chiaia. Among aristocratic palaces and art galleries, fashionable shops and glimpses of elegance, it is marked by the Villa Comunale, a green oasis, which was the Royal Bourbon Passage built by Ferdinand IV who asked Carlo Vanvitelli to design it. It is the first public garden in Naples, inaugurated in 1781: a Royal Villa with pines, palms and eucalyptus trees, between neoclassical busts and fountains, on a path that, in the center, sees the Art Nouveau structure of the glass and cast iron sound box stand out. The Anton Dohrn Zoological Station, with the oldest aquarium in Europe, is a center of study and research of international standing. It was founded in 1872 by the German naturalist Anton Dohrn, who intended to spread the knowledge of marine flora and fauna.
Choosing to enter the living room of Naples from St. Pasquale Square, starts via dei Mille, perfect for shopping (where there is the Pan, the Palazzo delle Arti of Naples in the 18th century Roccella Palace), via Filangieri and via Carlo Poerio up to Martiri Square, with a halo of narrow streets full of art and design galleries, designer shops and antiques.
Continuing to the Riviera di Chiaia, on the sea side, there is the unmistakable neoclassical facade of Villa Pignatelli, surrounded by a beautiful garden: housing inside the Prince Diego Pignatelli Cortes Museum, while the Carriage Museum is set in the stables.
The walk along the seafront continues up to Mergellina with its marina, which is the "gateway" to the Posillipo hill, evocative and made universal by the works of the famous 19th century landscape painters, the painters of the Posillipo School. Numerous prestigious villas emerge from the noble parks of the area, such as Villa Rosbery, residence of the President of the Republic; Villa Pierce, the 17th century Donn’Anna's Palace, an unfinished work by Cosimo Fanzago. An obligatory stop is the descent to the mythical hamlet of Marechiaro, a fishing village connected by a series of hairpin bends: here is the legendary "window" that evokes the song of Salvatore Di Giacomo. Finally, the hamlet of Casale is also characteristic, which dates back to the 13th century, with its typical squares and streets.
Copyright video, foto e testi © 2020