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Top Attractions in Naples

San Gregorio Armeno

San Gregorio Armeno is a church and a monastery in Naples, Italy. It is one of the most important Baroque complexes in Naples. The church is located on a street of the same name just south of Via dei Tribunali and a few blocks south of the church of San Paolo Maggiore, Naples In the 8th century, the iconoclast decrees in Greece caused a number of religious orders to flee the Byzantine empire and seek refuge elsewhere. San Gregorio Armeno in Naples was built in the 10th century over the remains of a Roman temple dedicated to Ceres, by a group of nuns escaping from the Byzantine Empire with the relics of St. Gregory, bishop of Armenia. During the Norman domination the monastery was united to that of the Salvatore and San Pantaleone, assuming the Benedictine rule. The construction of the church was begun in 1574 and consecrated five years later. The façade has three arcades surmounted by four pilaster strips in Tuscan order. The interior has a single nave with five side arcades: the decoration, with the exception of the five chapels, was finished by Luca Giordano in 1679. Bernardino Lama, likely the son of Giovanni Bernardo Lama, was author of the altarpiece. The interior houses also the famous Holy Staircase, used by the nuns during their penitences. The cupola was painted with a Glory of San Gregorio by Luca Giordano. The ceiling cassettoni or framed canvases depict the Life of the St Gregorio Armeno and were commissioned by the abbess Beatrice Carafa from the Flemish Teodoro d'Errico. On the right, the altarpieces include an Annunciation of Mary by Pacecco De Rosa, a Virgin of the Rosary by Nicola Malinconico, and frescoes by Francesco Di Maria. On the left, is a St. Benedict altarpiece by Spagnoletto. The main altar was designed by Dionisio Lazzari, and has an Ascension by Giovanni Bernardo Lama in the presbytery. The Idria Chapel houses eighteen paintings by Paolo De Matteis, portraying the Life of Mary. Over the chapel's high altar is a medieval icon, in Byzantine style, of the Madonna dell'Idria. The main attractive is the cloister . In the centre is a marble fountain, decorated with dolphins and other marine creatures, with the statues of "Christ and the Samaritana", by Matteo Bottiglieri.

Santa Maria del Carmine

Santa Maria del Carmine is a church in Naples, Italy. It is at one end of Piazza Mercato , the centre of civic life in Naples for many centuries until it was cut off from the rest of the city by urban renewal in 1900. The church was founded in the 13th century by Carmelite friars driven from the Holy Land in the Crusades, presumably arriving in the Bay of Naples aboard Amalfitan ships. Some sources, however, place the original refugees from Mount Carmel as early as the eighth century. The church is still in use and the 75-metre bell tower is visible from a distance even amidst taller modern buildings. The square adjacent to the church was the site in 1268 of the execution of Conradin, the last Hohenstaufen heir to the throne of the kingdom of Naples, at the hands of Charles I of Anjou, thus beginning the Angevin reign of the kingdom. Conrad's mother, Elisabeth of Bavaria, founded the church for the good of the souls of her young son and his companion, Frederick of Baden as well as a resting place for their remains, where they remain today. A statue was erected to Conrad's memory, commissioned by then crown-prince, Maximilian II of Bavaria, designed by the Neoclassic sculptor Thorvaldsen, and completed by his pupil Schopf in 1847. In 1647 the square was the site of battles between rebels and royal troops during Masaniello's revolt, and later, in 1799, it was the scene of the mass execution of leaders of the Neapolitan Republic of 1799. The area including parts of the church premises was heavily bombed in World War II and still shows the scars of the devastation. The old monastic grounds adjacent to the church now serve as a shelter for the needy and homeless. The church is home to two renowned religious relics: one, the painting of the "Brown Madonna" , is said to have been brought by the original Carmelites; the second is a figure of the Crucifixion in which the crown of thorns is missing. According to legend, the crown fell off as Christ's head moved when the building was struck by a cannonball in 1439 during the Aragonese siege.

Farnese Bull

The Farnese Bull, formerly in the Farnese collection in Rome, is a massive Hellenistic sculpture. It is the largest single sculpture ever recovered from antiquity to date. Pliny the Elder identified a version of it as the work of Rhodian artists Apollonius of Tralles and his brother Tauriscus, stating that it was commissioned at the end of the 2nd century BCE and carved from just one whole block of marble. It was imported from Rhodes, as part of the remarkable collection of artwork and sculpture owned by Asinius Pollio, a Roman politician who lived during the years between the Republic and the Principate. This colossal marble sculptural group represents the myth of Dirce first wife of Lykos, King of Thebes. She was tied to a wild bull by the sons of Antiope, Amphion and Zethus, who wanted to punish her for the ill-treatment inflicted on their mother. The group was unearthed in 1546 during excavations at gymnasium of the Roman Baths of Caracalla, commissioned by Pope Paul III in the hope of finding ancient sculptures to adorn the Palazzo Farnese, the Farnese familys palatial residence in Rome. This sculpture is dated to the Severian period . The group underwent a substantial restoration in the 16th century, when Michelangelo planned to use it for a fountain to be installed at the centre of a garden between Palazzo Farnese and the Villa Farnesina. It also could have been adapted for this use soon after it was found, which is supported by descriptions from the Renaissance era. Unlike the discoveries of the Hercules Farnese and the Latin Hercules from this excavation, which were documented as to their location, the only reference to this grouping is from a 1595 engraving by Etienne du Perac of the ruins of the Baths, showing the end of the east palestra, which states: "...in the time of Paul III many beautiful fragments of statues and animals were found that were all in one piece in antiquity ... and Cardinal Farnese had erected now in his Palazzo." It has been argued that the sculpture noted by Pliny in his Natural History could not be the Farnese Bull, and is instead a 3rd-century AD Roman version, made specifically for Caracallas Baths. Other scholars dispute this, arguing that since the work was originally located in the nearby Horti Asiniani, or Asiniani gardens, which the Pollio family owned, to have commissioned a copy specifically for the Baths would have meant both pieces would have been displayed in very close proximity. Along with the rest of the Farnese antiquities, it is since 1826 located at the Museo Archeologico Nazionale Napoli in Naples, inv. no. 6002.

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