Altri monumenyi a Napoli . Versione inglese

1. Slide and elaboration original by Antonio Florino Information in English

2. The church of S. Eligio Maggiore sits on the western edge of Market Square, the first building in Angevin Naples and one of the most prominent architectural models francesizzante of Southern Italy. In front of the apse there is a column topped by a marble cross on whose faces are carved Gothic crucifix and the Sant'Eligio. The church, along with contemporary former hospital complex is one of the least appreciated, when compared to the importance, including those in the eastern city of Naples. The foundation dates back to 1270 when Charles I of Anjou granted to three members of his family land to build a church and a hospital. The area was an area considered was already depressed, but some importance stemmed from the close proximity to the Puerta del Carmen, one of the main routes out of town towards the interior of the region. Tradition has it that the choice of name was made at random from among those three saints French Sant'Eligio fact, St. Denis and St. Martin. The whole complex had major importance in both the Angevin period than in Durazzo, but also in subsequent periods and Aragonese viceroy. In 1546 the viceroy Pedro de Toledo added a conservatory for young girls, which had been in Santa Caterina Spinacorona. In 1592 there was an open Tour, active until 1806, when it merged with others in the Private Bank and then in the Two Sicilies. Before the nineteenth century, then in the twentieth century building adjoining the Church was gradually instead used for different functions that have altered and deteriorated properties in the police station, school, or city office of the Commissioner of the Government. There remain two beautiful cloisters of the late fourteenth century, with pillars piperno; in one of them you can see a great seventeenth-century fountain. On the upper floors is a large hall with frescoes by Angelo Mozzillo (1787) with scenes from the Gerusalemme Liberata. The church complex, thanks to recent restorations, has regained almost original form. In reality, especially at the end of the sixteenth century the building had been changed and outside. By the early sixteenth century, in fact, the main facade was gone in a modest building civilian use. Between 1835 and 1845 the interior was redone and covered with stucco. In 1872, Gennaro Galante Aspreno so all expressed his disappointment: "The church, which until 1836 showed any traces of Anjou, reduced almost to ruin in that year was restored by Orazio Angelini and he lost his way not the pure pristine form, but most of precious memories, usually the detriment of our monuments, so that is most desirable that an old old stuff a modern restoration. " On March 4, 1943, Allied bombing took every problem destroying almost the entire church. For nearly two decades, the church was restored, however, and made visits. Outside you can admire the Gothic restored again, with the beautiful apse that is coming to Market Square. Then the original structure remains an interesting bell tower and the nearby charming arch clock period Angevin-Durazzo (though partly rebuilt in the nineteenth century). The only entrance to the church is to the right side, just after the arch, with splendid splayed doorway of the thirteenth century, one in Naples. The interior has three naves, which was added a fourth at the end of the sixteenth century is completed by the transept and a polygonal apse. Along the sides of the central nave with pillars run three large arches, on which there emerges a new row of edges closer ogive. The roof of the nave is a wooden trusses, one of the aisles and the apse is instead sometimes ribbed. All walls are yellow tuff, while membering piperno are gray, according to a typical Neapolitan churches between "200 and" 400. The fourth nave preserves rovinatissimi, fragments of frescoes of the "300 different hands. In general, in the church, originally painted completely, there are only a few fragments danneggiatissimi painting of the fourteenth and fifteenth century, all damaged by bombing in 1943. On the wall to 'beginning of the nave are the monumental marble framing of 1509, attributable to the workshop of Malvern, where once there was a large representation in painted terracotta by Domenico Napoletano. This important work, mentioned in a famous letter of 1524 was already Summerhill lost in 1700, but some heads and ornaments were found as a result of recent restoration work and are now in the Museo Civico di Castelnuovo. The support of the church remember then a beautiful wooden Madonna in the French school, now preserved at the Museo di Capodimonte and a painting by the Flemish painter Cornelis Smet, in 1578, also housed in Capodimonte. Instead lost a painting by Massimo Stanzione and represented that the three French Saints Eligio, Martin, and Dionysius, who had originally fought the name of the church

33. The arc of Sant'Eligio Detail is the legend associated with the arch-century which stands on two floors connected to the church tower with a building vicino.Sul first floor there is a clock inserted under the frame which are represented two heads which show a young girl named Irene Malarbi and Duke Antonio Caracciolo, pratogonisti of a legend from the sixteenth century by Benedict told the Croce.Pare Caracciolo, unscrupulous nobleman, in love with the young virgin and she is prevented from resistance to it , had unjustly condemn his father, asking in exchange for his release, the yield of the girl to the intentions of the unfortunate duca.Il father was actually released but her family said justice Trastamara of Isabella, daughter of King Ferdinand II of Aragon , Getting as condemning the forced marriage of the young by Caracciolo and his subsequent death by beheading .

35. By Aflo [email_address] Last but not least-important part-time, there was the marriage of two of our closest friend Luigia and Maurizio