The construction, realized on the end of the twelfth century on wish of Charles II of Angiò, it incorporated the two ancient churches of Saint Restituta and of Saint Stefania; two paleochristian testimonies since Saint Restituta, was realized in the eighth century on the church of St. Salvatore, work of the fourth century while the church of Saint Stefania went back to the V century. Of the church of Saint Stefania doesn't exist anything, while of that one of Saint Restituta we will find a homonym Chapel inside the Cathedral. The Cathedral was built again in 1680 and modified subsequently in the following years. The façade, reconstructed in 1407 to repair the damages of the 1349 earthquake, it results altered by pseudogothic forms for works realised between 1877 and 1905. The inside, at Latin cross covered with a ceiling in carved wood and gilded of 1621, it is at three aisles divided by pillars that englobe 110 ancient columns of granite. In the aisle on the right there is the Chapel of St. Gennaro, realized at the beginning of XVII century as ex vote after a pestilence with a Greek cross plan. The dome was frescoed by Giovanni Lanfranco in 1643 and the walls, with marbles around the seven altars, were frescoed by Domenichino between 1631 and 1641. The inside is guarded the so called "imbusto", a shrine bust, masterpiece of Gothic sculpture, with the skull and the reliquary which contain the blood of St. Gennaro, that miraculously melts twice a year. In the transept there are the Chapels Minutolo (of ancient Gothic architecture) and Tocco (with a floor realized in 1200), Francesco Solimena’s canvas, Luca Giordano’s canvas and a painting of the “Assunta”, work of Perugino and students of his shop. Under the presbytery there is the Chapel Carafa, an elegant example of Neapolitan architecture of the Renaissance.

The works of this building, considered the most important monument of Naples, began in 1325 with Carlo di Angiò and finished in 1368, with the queen Giovanna I of Angiò. Between the sixteenth and the eighteenth century it had several modifications, above all as regards the decorations, since it constitutes a reference both of the Medieval itinerary and of the Baroque one. The general installation is of Angevin inspiration, and also the Gothic nave of the church. From the square near the church is possible to admire an exceptional view of Naples where is clearly shown the big straight of Spaccanapoli. Among the environments are indicared the Church of women, the Refectory, the cloister of Procuratori, the Great Cloister, the garden and the cemetery of the monks.

The religious building represents an important reference of the urban development of Naples during the Renaissance. The construction goes back to the half of the fourteenth-century, but undergoing various interventions and readaptations during the following centuries. Recently restored for the damages during the last world war, today it presents prevalently in its Renaissance aspect. Built on two levels, the first constitutes the church of Santa Maria Consolatrice degli Afflitti and the second one the Chapel of Santa Monica. The conventual part was used as barracks and then as military hospital. In the church there are vary works of art such as: the Sepolcro of Ruggero di Sanseverino, work of Andrea da Firenze; the monument to Ladislao di Durazzo; a crucifixion of Giorgio Vasari; the chapel of San Vito of Tommaso Malvito; a cycle of frescoes of Perinetto da Benevento and of Leonardo from Besozzo; the Monumento Miroballo, work of Tommaso Malvito and Jacopo della Pila and a Virgin with the child made by Michelangelo Naccherino.

The Basilica, as have verified excavations and technical studies, rose on a paleochristian church of the Sixth century, of which it preserves the floor to mosaic, and marking the arrival in Naples of the Order founded by St. Francesco of Assisi. The façade is flanked from a square bell tower on four levels realized in the current configuration by Ferdinando Sanfelice and a portal of Angevin age. To the right there is the entrance for the convent and the cloister, realized on Roman structures that constitute one of the principal archaeological references in Naples today. Inside the church, where every Christmas is realized a crib with figures of the age with normal height , are preserved numerous works of art.

It is a religious complex realized in the VIII century, the church was annexed to a more ancient monastery devoted to St. Pietro a Monte. Unfortunately an earthquake in 1293 and a fire in the following century cancelled the ancient structures; the works, realized in the XVI century, engraved to the complex counter reform characters. The increasing number of Benedictine nuns led to build a church and a bigger convent, which was realized in front of it. The new complex made to lose importance to the complex of Donnaregina Vecchia, which was destined to different uses. The complex of Donnaregina Vecchia has the particularity to show practically one of the principal characters in Naples: its multistratification, which is represented through an inferior level of Greek-Roman period and partly medieval while the following overlapped levels go from the Middle Ages to the Rococo. The entrance of the church reveals the hand of Sanfelice with the cloister and the choir of the nuns of fourteenth-century style. The inside is very complex and articulated, among the various works we find a magnificent floor with majolicas, the Sepulchre of Maria of Hungary realised by Tino da Camaino, fourteenth-century frescoes of a follower of Giotto, pillars, decorations and frescoes of Pietro Cavallini.
Attached to an ancient church founded in the VIII century by basiliane nuns , the Gothic cloister was built in the XIV century. It is characterized by arches.

The demolition of the ancient church was necessary to flatten the zone where it was found and to allow to erect the Castle (known as Maschio Angioino or Castelnuovo). To indemnify the Franciscan the same monarch financed the construction of the new complex that began in 1279. Destroyed at the end of the Sixteenth century, the complex of Saint Maria La Nova was rebuilt. The marvelous cloister, with entrance at the beginning of via dei Banchi Nuovi, it is currently center of the Provincial Council of Naples and it is one of the most splendid examples of religious medieval architecture. The church, with the entrance at the end of a staircase in piperno, it has the inside to Latin cross with an only aisle and lateral chapels we will find the choir, the dome, the ceiling and numerous canvas, among which those "of the Assumption" realized by Francesco Imparato, "the crowning" by Fabrizio Santafede, "Maria's Gloria" made by Francesco Curia and other smaller works realized by Luigi Rodriguez and Belisario Corenzio. Other works are "the Twelve Virtues" of Nicola Malinconico, "the Crucifixion" of Marco Pino and "the Ecce Homo" of Giovanni da Nola. To the works and the decorations contributed also artists as Girolamo Santacroce, Massimo Stanzione, Battistello Caracciolo, Luca Giordano and Girolamo Di Auria.

The church, also known as Trinità Maggiore, is in fact the Palace Sanseverino of the XV century given to the jesuits at the end of the XVI century and transformed in the today's building dedicated to the Virgin. Palace Sanseverino was situated in the plan of the Inferior Decumano of the old Greek-Roman city and it still keeps the ashlar façade which anticipates the Palace of Diamanti of Ferrara.

The religious building was realized in Angevin period, but numerous interventions, above all those ones after earthquakes and fires, have modified the original aspect of it. Particularly interesting was the intervention of Luigi Vanvitelli and of his child Charles at the end of the eighteenth century, which can be noticed in the façade and the columns. Inside we will find interesting things such as the 44 Corinthian columns that join the nave to the side chapels and the numerous works of art.

The building is clearly inspired to the Pantheon and, with the wide semicircular parvis articulated by the columns, to St. Pietro in Rome. In the inside the circular plan is proposed and are kept some interesting works such as a painting that represents St. Francesco of Paola that resuscitates a little boy and some canvas preserved in the Cappellone. It’s interesting to notice that the altar and the tabernacle result anachronistic in comparison to the building: the first one, in fact, was realized in 1751 by Ferdinando Fuga, the second in the XVII century; both originate from the church of the Santi Apostoli.

Two are the cloisters of the ancient monastery of San Pietro a Maiella, today Conservatory of Music: the "great cloister", realized in 1684, is surrounded by pillars that lean on pillars of piperno and that they contain splendid flowerbed. The "small cloister" is different from the great one for the elevated height of the pillars. At the centre of the cloister there is a basin.

The oratoriani fathers' house, called Girolamini, rose in the ancient palace of Serripando. Two are the cloisters: the "cloister with majolicas" so called for the floor in which are alternated cooked and in maiolica tiles and realized on the end of the XVI century and the "cloister of the Orange tree" built in the XVII century on project of Dionisio di Bartolomeo and Dionisio Lazzari that is considered a real garden.

It is a point of reference in the itinerary in the Medieval Naples; in origin it was a small church wanted by the Bishop Sotero but only in the sixteenth century it was notably extended by the monks Teatini while the bell tower was realized in the XVII century by Bartholomeo Picchiatti; making also this complex a valid testimony of the Renaissance period. The monastery has been in the years destined to various uses: notarial archive, barracks, manufacture of the tobaccos and school; the church, to unique aisle with four side chapels, houses important works of art, such as the Grave of the literate Giovan Battista Marino, the frescoes of Giovanni Lanfranco, the altar Pignatelli, Luca Giordano’s canvas, the altar Filomarino and Francesco Solimena’s paintings.

The religious building, which is found in a very characteristic zone in Naples, the village Sant'Antonio Abate, rose at the end of the fourteenth century but subsequently it had so numerous interventions not to preserve almost anything of the native structure. Some works developed during the seventeenth and the eighteenth century added numerous baroque characters and eliminated the attached hospital, specialized in the care of the burnt and the people tormented by the herpes (called "fire of Sant'Antonio). Very beautiful is the Baroque façade, behind which a thick squared tower raises, erect perhaps with defensive functions. The prònao and the portal go back to XIV century while inside, to unique nave with rich Baroque decorations, are preserved traces of native frescos and the statue of the Virgin with her Child.

The castle was built between 1279 and 1282 for wish of Charles I of Angiò from whom the denomination of Maschio Angioino. The project was given to the French Pierre of Angincourt. It was called "new" after the works of rebuilding wanted by Alfonso of Aragon. The original aspect is visible in the chapel of Santa Barbara, frescoed by Giotto. The marmoreal arc of access, commemorative of the Aragonese conquest is extremely beautiful.

It is the major Neapolitan museum of the Renaissance, of the baroque and of the rococo, built in 1601 by the Count of Lemos who entrusted the works to Domenico Fontana, the works were conclused in 1644. In the middle of the nineteenth century Gaetano Genovese realized the grand and spectacular façade and the hanging garden. The building- which houses the museum of the Historical Apartment, the National Library and the wonderful Theatre of Court- develops on three orders with the Vanvitelliana façade, restored later by Genoese, where in 1888 were fixed up in special hedges the big statues of the most representative sovereigns of Naples: Ruggero the Norman, Federico II, Carlo di Angiò, Alfonso di Aragona, Carlo V, Carlo di Borbone, Gioacchino Murat and Vittorio Emanuele II. Very beautiful are the courtyard and the great staircase of honour.

A very important religious complex realised in 1310 to the will of Roberto Di Angio, which has one of the most beautiful eighteenth-century cloisters in the world.
The cloister, realized by Domenico Vaccaro, is an extraordinary and unique example of the use of the maiolica and goes back to 1739 and it is part of the plan of radicals restaurations regarding the whole monastic complex of S. Chiara. The cloister (long 82,30 ms and large 78,30 ms) was given to the Clarisses who divided the monastery with the Franciscan. At north of the cloister there was the cemetery to which the tradition associes an ancient legenda. The bombardment of August 4 th 1943 destroyed a big part of the complex, today that visible is fruit of the restaurations happened in the postwar period.

The Palace was constructed on a number of occasions, between the 1464 and the 1490, by Angelo Cuomo, who had the protection of Alfonso di Aragona, duke of Calabria. The principal façade of the building, with Guelph cross windows and with the decoration to rustic ashlar, is different by the lateral fronts, works of local artists of cave origin.

The present center of the Faculty of Architecture of the University Federico II is a monumental building built by Mormando ( Giovan Francesco Di Palma ) in 1513 for the Conte of Gravina, Ferdinando Orsini. It has a linear façade, a first part in ashlar and round busts on the windows, separated by false Corinthian columns. With the works realised during the eighteenth century and the nineteenth century added baroques and rococo elements. In 1848 a lot of decorations with stuccoes and frescoes realized by G. Bonito, F.Rosi and F. Mura were lost because of a violent fire. The Palace Gravina represents architecturally a phase of the Renaissance in Naples..

The Teatro di San Carlo is an opera house designed by the architects Giovanni Antonio Medrano and Angelo Carasale for the Bourbon monarch Carlo III of Naples. Charles wanted to endow Naples with a new and larger theatre to replace the old and dilapidated Teatro San Bartolomeo of 1621.
The theatre was inaugurated on the 4 November 1737—the king’s name day—with a performance of Domenico Sarro’s Achille in Sciro, an opera based on the play by the famous poet and dramatist who went by the name of Metastasio. Sarro also conducted the orchestra in two ballets as intermezzi, created by Grossatesta. At the time, it was the largest opera house in the world, seating 3,300.
On 12 February 1816 the San Carlo was destroyed by fire. However, it was re-designed by the architect Antonio Niccolini and rebuilt within ten months on order of King Ferdinand IV, another Bourbon monarch. On 12 January 1817, the rebuilt theatre was inaugurated with Simon Mayr’s Il sogno di Partenope. Stendhal attended the second night of the inauguration and wrote: “There is nothing in all Europe, I won’t say comparable to this theatre, but which gives the slightest idea of what it is like..., it dazzles the eyes, it enraptures the soul...”. It was designed as a traditional horseshoe-shaped auditorium with 1,444 seats, and the proscenium is 33.5m wide and 30m high. The stage is 34.5m deep.
In 1845 there was additional refurbishment and, by 1854, the theatre’s interior appearance changed to the now-traditional red and gold. Apart from the creation of the orchestra pit suggested by Verdi in 1872, the installation of electricity in 1890, the subsequent abolition of the central chandelier and the construction of the new foyer and a new wing for dressing rooms, the theatre underwent no substantial changes until the bombing of the Second World War in 1943. However, the theatre was quickly repaired by the occupying Allied forces, and it re-opened within six months on 16 December 1943.

The imposing monument, which follows the profile of the city from whatever point is observed it, was realized in 1329 during a period of urban rearrangement. Following works, included the restructuring realised by Domenico Fontana in 1599 after the explosion of a powder magazine, have modified the original plan; today the castle appears as an unusual star to six points, a particular that has aroused numerous conjectures on the castle, but none supported by concrete tests. The Castle was not only used as point of defense during the revolt of Masaniello in 1799 but it was also used to imprison the revolutionaries, acquiring a punitive function that has preserved for different years. A recent and deep restructuring has brought the Castle to its original splendour; today it is used as centre of important cultural demonstrations, of the offices of the Sovraintendenza and the Library of the history of the art "Bruno Majoli". Very interesting are the underground jails and the terraces, a place from which you can admire a splendid view of 360 degrees of Naples.

The façade, on two levels concluded by a triangular tympan opened by the characteristic portal, is placed among buildings of epoch along a road that is signalled for the numerous antiquarian shops (cyclical shows of antiquariato are also held). Át the inside, that presents an only aisle and five lateral chapels, numerous works of art are guarded, among which decorations of Antonio Domenico Vaccaro and Cosimo Fanzago, frescos of Belisario Corenzio, some statues and the eighteenth-century portal of the convent, realized by Nauclerio.

This church is a tourist-cultural testimony of itineraries relative to the Greek-Roman archaeology, from the Renaissance period to that one Baroque. To the church is attached the Sanctuary of St. Gaetano, object of deep popular devotion. The origins of the religious building go back to the eighth century, when was built on the Roman temple of the Dioscuris. The paleochristian church had numerous and notable transformations in the following centuries, the works were entrusted to Giovan Battista Cavagna, Francesco Grimaldi, Giovan Giacomo Conforto, Arcangelo Guglielminelli and Giuseppe Astarita. The façade is situated at the top of a monumental staircase of XVII century. The inside of the church was realized to Latin cross with two lateral chapels: that of Saint Maria della Carità and that one Firrao. There are numerous sculptures and decorations in marble, while the ceiling preserves a cycle of frescos due to Massimo Stanzione. Of Francesco Solimena are the frescos in the sacristy while Domenico Antonio Vaccaro realized the group of the Guardian Angel.

The complex, known as Basilica of Saint Maria of Piedigrotta, is an important tourist and cultural reference for the works of art of the Baroque period that it guarded. Built in XIV century and dedicate to Santa Maria of the Idria, to whom the cult was voted;the cult that is connected to that pagan of the Goddess Hodigidria (in Greek who conducts), very diffused in the colonies of Magna Grecia and therefore also in Naples, devotion that relives every 8 September with the Feast of Piedigrotta, demonstration of deep folklorist meaning if you connect it to that "Piedigrotta" that has coincided for a long time with the creation of the most famous and beautiful Neapolitan songs. In the façade there is the image of the Madonna of Piedigrotta among king Alfonso of Aragon, Pope Niccolò V and Sant'Agostino. The inside, very rich and decorated, guards the fourteenth-century statue of the Madonna with her Child, frescos of Belisario Corenzio and a sixteenth-century table of Flemish style.
Added in 1450 to the ancient convent of Piedigrotta built in the XIII century, the cloister was built for wish of the noble Onorato Gaetani. It is of rectangular form, long 30 meters and broad 26 it was delimited by 28 arcades with cross vault. The nature of the cloister changed, with the addition of some pillars, when in the '500 was necessary the realization of a superior floor. Currently in the cloister there is the hospital of the Marina Militare.

The name is linked to the proximity with the ancient Gate called "Capuana" because it goes onto the road that conducted to Capua. The building rose in the XII century by the Norman William of Altavilla (or of Hauteville). The century after it was restored by Charles of Angiò. In 1484 the Aragonese englobed it in the boundary wall, turning it into real residence. With the amplification of the city, the castle lost the military elements, and this transformation will be emphasized in the XVIII and the XIX century. With Don Pedro of Toledo, vicerey of Naples, in 1540 Castel Capuano becomes "Vicaria" and center of the Courts, function that develops still today. The wide rectangular courtyard, surrounded by the arcade with pillars, preserves the characters of the medieval structure and perhaps other elements of the period could emerge from deep interventions of restauration, that don't appear necessary because the structure has well kept. The most important and interesting environment is the Chapel Sommaria, with decorated walls and stuccoes by Pietro Ruviale in the sixteenth century representing Evangelical Scenes and the Universal Judgment. Interesting is the Room of the Court of Appeal, with eighteenth-century works of Anthonio Cacciapuoti and the Room of the Busts, where there are the busts of the princes of the Forum of Naples.

The construction of the church is linked to the initiative of a congregation founded in 1604 by a group of nobles to the purpose to pick up funds for the celebration of masses in suffrage of the souls of the purgatory. The inside, with a unique aisle with side chapels has enriched by Massimo Stanzione and Luca Giordano’s canvas.

The “small” cloister was realized in 1466 on a ground originally used as orange grove. Different documents want that a second cloister is added to it, called "of the frescoes". Of the small cloister must be remembered the rests of the valuable paintings with the nine scenes of the life of the prophet Sant'Elia. A second pictorial cycle concerns the "Eliseo's histories". The cloister will be centre of different important moments of the history of Naples, from the revolt of Masaniello to the plague of 1663.

It’s the most important archaeological museum in Europe, with a rich collection of coins, an Egyptian section and a series of rooms which house pieces of exceptional importance, such as the big mosaic which represents “the battle of Alexander to Isso”, the “Farnese bull”, the group of the Tyrannicides, the tables of Eraclea and the Rooms of the Temple of Isis. They are sculptures, wall paintings, mosaics, arms, terracottas, pots, bone and ivory objects and jewels.
via miano n.1
tel. 0817499111 - fax: 0817499198
entry (indicative): euro 7.23 (full fare) - euro 6.2 (reduced fare)
timetable: 8.30 - 19.30; 8.30 - 19.30 (holiday)
closed on Monday

In the villa Floridiana, work of the neoclassic architect Antonio Nicolini, there is an precious collection of objects of applied art collected by Placido De Sangro, duke of Martina. De Sangro gathered, from 1860, glasses, corals, ivory, objects in leathers, enamels, snuffboxes and above all a splendid collection of majolicas and chinas. There are also Neapolitan sketches of '700 and pieces of furniture. At the first floor are kept the chinas of European manufacture, such as the collection of the manufacture of Meissen, of Capodimonte and of Naples during the Bourbon period, of the marquis Ginori a Doccia, besides the French, German and Viennese chinas. Important is the splendid collection of eastern art with chineses and Japanese porcelaines, bronzes, jades and enamels. At the ground floor a collection of Renaissance majolicas, of the seventeenth-century and Hispanic-Moorish.
via cimarosa n.77
tel. 0815788418
entry (indicative): euro 2.58 (full fare) - euro 1.29 (reduced fare)
timetable: 9.30 - 11.00 - 12.30; 9.30 - 11.00 - 12.30 (holiday)
closed on Monday

The current centre of the Museum and the National Galleries of Capodimonte rose in 1743 wanted by Charles of Borbone, the task to build the Royal Palace was given to Giovanni Antonio Medrano and Antonio Canevari, while to Ferdinando Sanfelice was given the task to realize the great Park, with the botanical part submitted to Denhardt, the person in charge of the Botanical garden. The splendid site, that dominates the oriental part of the city from the hill of Capodimonte, constitutes one of the most important Baroque and Rococo references in Naples. It is made up with the Villa of the Princes, the building of the Manufacture of the Porcelains, the grandiose Palace surrounded by the Park, the Chapel of St. Gennaro, the Faggianeria, the Casina of the Queen and the hermitage of the Cappuccinis.
piazza museo n.19
tel. 081440166 - fax: 081440013
entry (indicative): euro 6.2 (full fare) - euro 3.1 (reduced fare)
timetable: 09.00-19.00; 09.00-20.00 (holiday)
closed on Tuesday

The museum collects the artistic and historic heritage of the old Certosa, built in 1325 by Charles, the son of the king Roberto di Angiò, and then became the expression of the Neapolitan baroque thanks to Cosimo Fanzago. Reopened to the public in 1866, the principal nucleus of the museum includes the historic section which collects examples of the politics, economic and social history of the Reign of Naples through paintings, sculptures, cribs and minor arts. There is a wonderful collection of cribs of the '700 and '800 of which the most complete is the crib well-known as Cuciniello given to the museum in 1879 and the pottery collection, chinas and glasses of XVI-XIX century. Important is also the Quarto del Priore, returned to its original architectural structure, which houses the picture-gallery of the prior with works realized by Corenzio, Battistello Caracciolo, Solimena, Salvator Rosa, Ribera, and Luca Giordano.
largo san martino n.5
tel. 0815781769 - fax: 0815781769
entry (indicative): euro 5.68 (full fare) - euro 2.84 (reduced fare)
timetable: 8.30 - 19.30; 9.00 - 19.30 (holiday)
closed on Monday