Hotel Executive: Sites touristiques
Castel Nuovo e Maschio Angioino
In the year 1266, Carlo d’Angiò entrusted the work of the castle to the Frenchmen Pierre de Chaules and Pierre d’Angicourt. Roberto d’Angiò used the work of Giotto who worked in Naples in the years 1328 to 1333 putting frescoes in the Cappella Palatina that no longer exist, perhaps they were destroyed in an earthquake. Also Boccaccio lived in Naples in these years. One of the most notable events of the medieval period happened during the angioino period within the walls of the Castel Nuovo, the “gran rifiuto” (the great refusal) of Celestino V on December 13 of 1294. Always in its walls, the new conclave Bonifacio VIII was elected.
In 1442 the crown was placed upon the head of Alfonso d’Aragona; in the courtyards of the castle was born the famous and esteemed Accademia Pontaniana. The castle, practically destroyed during a siege of the city by Alfonso, was rebuilt by the aragonian architect Guglielmo Sagrera that gave the construction its appearance of today. The great hall is a miracle of architecture. With about thirty meters of height, it presents a covering of costoloni that, starting at the center, joins itself with the perimeter walls. It was named the “Sala dei Baroni” (room of the Barons) because in 1486 Ferrante d’Aragona brought all the unfaithful barons into that room in order to arrest them. The arch of triumph is retained as one of the most beautiful works of the Italian Renaissance. Also like every respectable castle, the Maschio Angioino has its own dungeons and various skeletons (The Cells of Miglio and the Crocodile).
It began in 1602 for the second city of the Spanish Empire. The project was entrusted to the architect Domenico Fontana, among the most famous architects of the time, the designer of the Rome of Sisto V.
In 1734, Carlo Borbone returned to Naples its dignity as a capital city by giving it an autonomous reign and the palace was enlarged. In the 19th century, Ferdinando II of Borbone commanded major repairs and remodeling. The restorations, conducted by the architect Gaetano Genovese, enlarge the ancient relic without distorting it.
The long manner of the façade is entirely by the architect Fontana. The external niches were occupied by statues of the kings of Naples, the first ones from their respected dynasties: Ruggero the Norman, Federico II of Svevia, Carlo I d’Angiò, Alfonso I d’Aragona, Carlo V d’Asburgo, and Carlo V of Borbone. The royal apartment offers visitations to the royal rooms of etiquette. The rooms and furnishing are not available for daily usage (bedrooms, bathrooms, kitchens, etc.) because of grave damages and lootings from the last war.
One can access the monumental and luminous apartment by a grand staircase of honor. The royal garden was enclosed by a magnificent iron gate on which one enters an entrance enclosed by an iron statue of Palafrenieri (also known as “Cavalli di Bronzo” Bronze Horses), a gift from the Czar Nicolas I to Ferdinando II of Borbone.
Teatro di San Carlo
The Teatro San Carlo was built in 1737 and it is the longest continually running theater in Europe. Numerous testimonies handed down from travelers and renowned visitors are generally all in agreement in the celebrated vastness and beauty of the theater by Antonio Mediano. The digression of the Repubblica Partenopea in 1799 brought about expected damages after the theater was used improperly, renamed Teatro Nazionale and “defiling” the theater as a use of horse shows. During the reign of Gioacchino Murat, it was declared that the theater was to be renovated by the architect Niccolini and the external portico was to be constructed in order to restore the dignity of the monumental symbol of the city the theater acquires the connotations of the temple.
On the night of the 13th of February 1816 the structure was devastated after a violent fire. The reconstruction, under the order of Ferdinando I of Borbone, was executed in the arch of nine months and is always directed by the Tuscan architect.
The curtain on the stage which was often repainted by Giuseppe Cammarano completed the permanent furnishings of the theater. It was then substituted in 1854 by its current exemplary curtain due from Giuseppe Mancinelli and Salvatore Fergola which represents the Parnassus with eighty poets and musicians.
This street carries the name of the viceroy of Naples from the years 1532 to 1553 who made the city open an ambitious square of development and reorganization. It has a concept as a fifth and a prestigious zone to walk in, Via Toledo, since its birth, was characterized as the presence of the wealthy residences. The buildings, like the Palazzo Doria d’Angri (1755) and the Palazzo Carafa di Maddaloni (1582), are interspersed throughout the churches (for example the Chiesa di San Nicola della Carità, until the end of the 17th century), stores, banks and cafés.
The shopping offers opportunities for all kinds of tastes and price ranges. One can stop by Gay Odin for its famous chocolate, or have a fantastic sfogliatella at Pintauro where the Prince of Metternich had his first “official” outing in Naples as a guest of the king.
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