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The '''Royal Palace of Capodimonte''' ({{lang-it|Reggia di Capodimonte}}) is a large [[palazzo]] in [[Naples]], Italy. It was formerly the summer residence and [[Jagdschloss|hunting lodge]] of the [[House of Bourbon|Bourbon]] kings of the [[Two Sicilies]], one of the two royal palaces in Naples. Today, the main building holds the main Neapolitan museum for paintings, and much other post-ancient art, in the [[National Museum of Capodimonte]]. This has the best collection of paintings from the distinct tradition of Neapolitan art, and also many works from the [[Farnese Collection]].
The '''Royal Palace of Capodimonte''' ({{langx|it|Reggia di Capodimonte}}) is a large [[palazzo]] in [[Naples]], Italy. It was formerly the summer residence and [[Jagdschloss|hunting lodge]] of the [[House of Bourbon|Bourbon]] kings of the [[Two Sicilies]], one of the two royal palaces in Naples. Today, the main building holds the main Neapolitan museum for paintings, and much other post-ancient art, in the [[National Museum of Capodimonte]]. This has the best collection of paintings from the distinct tradition of Neapolitan art, and also many works from the [[Farnese Collection]].


The palace was constructed on its somewhat cooler hilltop location (''Capodimonte'' means "top of the hill") just outside the city, with urban Naples ultimately expanding around it. The large park (''Real Bosco'' or "royal woods") is under the same administration, and hosts events such as concerts.<ref>[https://capodimonte.cultura.gov.it/ Official website]</ref>
The palace was constructed on its somewhat cooler hilltop location (''Capodimonte'' means "top of the hill") just outside the city, with urban Naples ultimately expanding around it. The large park (''Real Bosco'' or "royal woods") is under the same administration, and hosts events such as concerts.<ref>[https://capodimonte.cultura.gov.it/ Official website]</ref>


==History==
==History==
In 1738, King [[Charles III of Spain|Charles VII]] of [[Kingdom of the Two Sicilies|Naples and Sicily]] (later [[Charles III of Spain|Charles III]], king of [[Spain]]) decided to build a hunting lodge on the Capodimonte hill. He then decided that he would instead build a grand palace (a Royal Palace, as in Italian ''Reggia'' means Royal), partly because his existing residence, the [[Palace of Portici]], was too small to accommodate his court, and partly because he needed somewhere to house the fabulous [[House of Farnese|Farnese]] art collection which he had inherited from his mother, [[Elisabetta Farnese]], last descendant of the sovereign ducal family of [[Parma]].
In 1738, King Charles VII of [[Kingdom of Naples|Naples]] and [[Kingdom of Sicily|Sicily]] (later King [[Charles III of Spain]]) decided to build a hunting lodge on the Capodimonte hill. He then decided that he would instead build a grand palace, partly because his existing residence, the [[Palace of Portici]], was too small to accommodate his court, and partly because he needed somewhere to house the fabulous [[Farnese Collection]] which he had inherited from his mother, [[Elisabetta Farnese]], last descendant of the sovereign ducal family of [[Duchy of Parma and Piacenza|Parma]].


He commissioned [[Angelo Carasale]], [[Giovanni Antonio Medrano]] and [[Antonio Canevari]] to build it. Work started in August 1738,<ref name=Acton>{{cite book|last=Acton|first=Harold|title=The Bourbons of Naples (1731-1825)|year=1957|publisher=Faber and Faber|location=London|isbn=9780571249015}}</ref> but it was to take more than a century to complete, partly because of the difficulty of transporting ''piperno'', the volcanic rock used, from the quarries in [[Pianura]]. Since all surviving drawings bear Giovanni Antonio Medrano’s signature, most scholars give him complete credit. Moreover, the façade bears little in common with Canevari’s oeuvre. Its sober articulation adheres more closely to Herreran monuments in Spain and the output of the royal military engineer and architect Giovanni Antonio Medrano. Architectural borrowing was never neutral, and at Capodimonte such features harmonized the palace with other royal buildings, thus casting it as a member of a close-knit family of crown structures. The features drawn from Spain, the Teatro di San Carlo, and the Palazzo Reale would seem to indicate that Medrano oversaw the design. He knew Spanish monuments well, renovated the [[Royal Palace of Naples|Palazzo Reale]], and designed the [[Teatro di San Carlo]]. Giovanni Antonio Medrano probably designed the stairs, for their distinctive C-shape resemble the one he designed for San Carlo.<ref>{{cite book |last1=Thomas |first1=Robin |title=The Royal Palace of Capodimonte: the Early Years |date=2016 |publisher=NAPOLI NOBILISSIMA VOLUME LXXII DELL'INTERA COLLEZIONE RIVISTA DI ARTI, FILOLOGIA E STORIA SETTIMA SERIE -VOLUME II FASCICOLO III -SEPTEMBER - DECEMBER 2016 |location=Pennsylvania |pages=23–32 |url=https://www.academia.edu/34044118/The_Royal_Palace_of_Capodimonte_the_Early_Years |access-date=2023-02-07}}</ref>
He commissioned [[Angelo Carasale]], [[Giovanni Antonio Medrano]] and [[Antonio Canevari]] to build it. Work started in August 1738,<ref name=Acton>{{cite book|last=Acton|first=Harold|title=The Bourbons of Naples (1731-1825)|year=1957|publisher=Faber and Faber|location=London|isbn=9780571249015}}</ref> but it was to take more than a century to complete, partly because of the difficulty of transporting ''piperno'', the volcanic rock used, from the quarries in [[Pianura]]. Since all surviving drawings bear Giovanni Antonio Medrano’s signature, most scholars give him complete credit. Moreover, the façade bears little in common with Canevari’s oeuvre. Its sober articulation adheres more closely to [[Herrerian style|Herrerian]] monuments in Spain and the output of the royal military engineer and architect Giovanni Antonio Medrano. Architectural borrowing was never neutral, and at Capodimonte such features harmonized the palace with other royal buildings, thus casting it as a member of a close-knit family of crown structures. The features drawn from Spain would seem to indicate that Medrano oversaw the design. He knew Spanish monuments well, renovated the [[Royal Palace of Naples|Palazzo Reale]], and designed the [[Teatro di San Carlo]]. Medrano probably designed the stairs, for their distinctive C-shape resemble the one he designed for San Carlo.<ref>{{cite book |last1=Thomas |first1=Robin |title=The Royal Palace of Capodimonte: the Early Years |date=2016 |publisher=NAPOLI NOBILISSIMA VOLUME LXXII DELL'INTERA COLLEZIONE RIVISTA DI ARTI, FILOLOGIA E STORIA SETTIMA SERIE -VOLUME II FASCICOLO III -SEPTEMBER - DECEMBER 2016 |location=Pennsylvania |pages=23–32 |url=https://www.academia.edu/34044118/The_Royal_Palace_of_Capodimonte_the_Early_Years |access-date=2023-02-07}}</ref>


In 1758, the first part of the palace was opened and the art collection was brought in. In 1759, [[Ferdinand I of the Two Sicilies|Ferdinand I]] succeeded his father Charles and the following year he appointed the architect [[Ferdinando Fuga]] to oversee work on the palace and the grounds. In 1787, on the advice of [[Jacob Philipp Hackert]], a laboratory for the restoration of paintings was created.
In 1758, the first part of the palace was opened and the art collection was brought in. In 1759, [[Ferdinand I of the Two Sicilies|Ferdinand IV]] succeeded his father Charles and the following year he appointed the architect [[Ferdinando Fuga]] to oversee work on the palace and the grounds. In 1787, on the advice of [[Jacob Philipp Hackert]], a laboratory for the restoration of paintings was created.


When the [[Parthenopaean Republic]] was declared in 1799, Ferdinand fled to Palermo on board [[Horatio Nelson, 1st Viscount Nelson|Nelson]]'s ''Vanguard'', taking the most valuable items from the palace with him. What remained was looted by the French troops of [[Jean Étienne Championnet|General Championnet]] who were billeted there. During the 10 years of French occupation (1806-1815), the palace was the residence of [[Joseph Bonaparte]] and then of [[Joachim Murat]]. The art collection was transferred to the [[Naples National Archaeological Museum]]. When Ferdinand returned from Sicily in 1815, he employed many painters and sculptors to work on the decoration of the palace.
When the [[Parthenopaean Republic]] was declared in 1799, Ferdinand fled to Palermo on board [[Horatio Nelson, 1st Viscount Nelson|Nelson]]'s ''[[HMS Vanguard (1787)|Vanguard]]'', taking the most valuable items from the palace with him. What remained was looted by the French troops of General [[Jean Étienne Championnet]] who were billeted there. During the 9 years of [[Kingdom of Naples (Napoleonic)|French occupation]] (1806-1815), the palace was the residence of [[Joseph Bonaparte]] and then of [[Joachim Murat]]. The art collection was transferred to the [[Naples National Archaeological Museum]]. When Ferdinand returned from Sicily in 1815, he employed many painters and sculptors to work on the decoration of the palace.


[[Francesco I of the Two Sicilies|Francesco I]] succeeded his father Ferdinand in 1825 and appointed the architect [[Antonio Niccolini (architect)|Antonio Niccolini]] to oversee work on the palace. Niccolini added monumental staircases, and new suites of rooms for the royal family, continuing work when [[Ferdinand II of the Two Sicilies|Ferdinand II]] succeeded Francesco I in 1830. The palace was finally completed in 1840, and a gallery housing contemporary art was added.
[[Francis I of the Two Sicilies|Francis I]] succeeded his father Ferdinand in 1825 and appointed the architect [[Antonio Niccolini (architect)|Antonio Niccolini]] to oversee work on the palace. Niccolini added monumental staircases, and new suites of rooms for the royal family, continuing work when [[Ferdinand II of the Two Sicilies|Ferdinand II]] succeeded in 1830. The palace was finally completed in 1840, and a gallery housing contemporary art was added.


With [[Italian Unification]], the royal palace passed in 1861 to the [[House of Savoy]] who used it as a residence and also added to the art collections, appointing [[Domenico Morelli]] as consultant for new acquisitions. They also added an extensive collection of historic firearms and other weapons. In 1866, the ''[[Porcelain boudoir of Maria Amalia of Saxony|boudoir]]'' of [[Maria Amalia of Saxony]] was transferred to Capodimonte from the [[Palace of Portici]], and in 1877 a Roman era marble floor was brought in from a Roman villa on Capri.
With [[Italian Unification]], the royal palace passed in 1861 to the [[House of Savoy]] who used it as a residence and also added to the art collections, appointing [[Domenico Morelli]] as consultant for new acquisitions. They also added an extensive collection of historic firearms and other weapons. In 1866, the ''[[Porcelain boudoir of Maria Amalia of Saxony|boudoir]]'' of [[Maria Amalia of Saxony]] was transferred to Capodimonte from the [[Palace of Portici]], and in 1877 a Roman era marble floor was brought in from a Roman villa on [[Capri]].


In the early 20th century, the palace became the residence of the [[Duke of Aosta|Dukes of Aosta]]. Then in 1920 it became the property of the Italian state. In 1950 it became a museum with many of the exhibits being returned from the National Museum.
In the early 20th century, the palace became the residence of the [[Dukes of Aosta]], a cadet branch of the House of Savoy. Then in 1920 it became the property of the Italian state. In 1950 it became a museum with many of the exhibits being returned from the National Museum.


== Interior ==
== Interior ==
The first and second floors house the National Gallery (''Galleria Nazionale'').
The first and second floors house the National Gallery (''Galleria Nazionale'').


Elsewhere in the palace the royal apartments are furnished with antique 18th century furniture and a collection of [[porcelain]] and [[Maiolica|majolica]] from the various royal residences. The famous [[Capodimonte porcelain|Capodimonte Porcelain Factory]] was just adjacent to the palace; it was started in 1743 by the Bourbon King Charles.
Elsewhere in the palace the royal apartments are furnished with antique 18th century furniture and a collection of [[porcelain]] and [[maiolica]] from the various royal residences. The famous [[Capodimonte porcelain|Capodimonte Porcelain Factory]] was just adjacent to the palace; it was started in 1743 by the Bourbon King Charles.


== Gardens ==
== Gardens ==

Latest revision as of 01:00, 26 October 2024

Royal Palace of Capodimonte
Reggia di Capodimonte
Royal Palace of Capodimonte façade
Map
General information
StatusNow used as a museum, National Gallery
TypePalace
Architectural styleItalian Baroque, Neo-Classical
AddressVia Miano 2, 80132 Naples, Italy
Construction started1738
Completed1742
ClientCharles III of Spain
Technical details
Floor count3
Design and construction
Architect(s)Antonio Canevari
Giovanni Antonio Medrano
Ferdinando Fuga
Antonio Niccolini[1]
Website
Museo di Capodimonte official website (in Italian)
Invalid designation
Official nameRoyal Palace of Capodimonte
TypeNon-movable
CriteriaMonument
State PartyItaly

The Royal Palace of Capodimonte (Italian: Reggia di Capodimonte) is a large palazzo in Naples, Italy. It was formerly the summer residence and hunting lodge of the Bourbon kings of the Two Sicilies, one of the two royal palaces in Naples. Today, the main building holds the main Neapolitan museum for paintings, and much other post-ancient art, in the National Museum of Capodimonte. This has the best collection of paintings from the distinct tradition of Neapolitan art, and also many works from the Farnese Collection.

The palace was constructed on its somewhat cooler hilltop location (Capodimonte means "top of the hill") just outside the city, with urban Naples ultimately expanding around it. The large park (Real Bosco or "royal woods") is under the same administration, and hosts events such as concerts.[2]

History

[edit]

In 1738, King Charles VII of Naples and Sicily (later King Charles III of Spain) decided to build a hunting lodge on the Capodimonte hill. He then decided that he would instead build a grand palace, partly because his existing residence, the Palace of Portici, was too small to accommodate his court, and partly because he needed somewhere to house the fabulous Farnese Collection which he had inherited from his mother, Elisabetta Farnese, last descendant of the sovereign ducal family of Parma.

He commissioned Angelo Carasale, Giovanni Antonio Medrano and Antonio Canevari to build it. Work started in August 1738,[1] but it was to take more than a century to complete, partly because of the difficulty of transporting piperno, the volcanic rock used, from the quarries in Pianura. Since all surviving drawings bear Giovanni Antonio Medrano’s signature, most scholars give him complete credit. Moreover, the façade bears little in common with Canevari’s oeuvre. Its sober articulation adheres more closely to Herrerian monuments in Spain and the output of the royal military engineer and architect Giovanni Antonio Medrano. Architectural borrowing was never neutral, and at Capodimonte such features harmonized the palace with other royal buildings, thus casting it as a member of a close-knit family of crown structures. The features drawn from Spain would seem to indicate that Medrano oversaw the design. He knew Spanish monuments well, renovated the Palazzo Reale, and designed the Teatro di San Carlo. Medrano probably designed the stairs, for their distinctive C-shape resemble the one he designed for San Carlo.[3]

In 1758, the first part of the palace was opened and the art collection was brought in. In 1759, Ferdinand IV succeeded his father Charles and the following year he appointed the architect Ferdinando Fuga to oversee work on the palace and the grounds. In 1787, on the advice of Jacob Philipp Hackert, a laboratory for the restoration of paintings was created.

When the Parthenopaean Republic was declared in 1799, Ferdinand fled to Palermo on board Nelson's Vanguard, taking the most valuable items from the palace with him. What remained was looted by the French troops of General Jean Étienne Championnet who were billeted there. During the 9 years of French occupation (1806-1815), the palace was the residence of Joseph Bonaparte and then of Joachim Murat. The art collection was transferred to the Naples National Archaeological Museum. When Ferdinand returned from Sicily in 1815, he employed many painters and sculptors to work on the decoration of the palace.

Francis I succeeded his father Ferdinand in 1825 and appointed the architect Antonio Niccolini to oversee work on the palace. Niccolini added monumental staircases, and new suites of rooms for the royal family, continuing work when Ferdinand II succeeded in 1830. The palace was finally completed in 1840, and a gallery housing contemporary art was added.

With Italian Unification, the royal palace passed in 1861 to the House of Savoy who used it as a residence and also added to the art collections, appointing Domenico Morelli as consultant for new acquisitions. They also added an extensive collection of historic firearms and other weapons. In 1866, the boudoir of Maria Amalia of Saxony was transferred to Capodimonte from the Palace of Portici, and in 1877 a Roman era marble floor was brought in from a Roman villa on Capri.

In the early 20th century, the palace became the residence of the Dukes of Aosta, a cadet branch of the House of Savoy. Then in 1920 it became the property of the Italian state. In 1950 it became a museum with many of the exhibits being returned from the National Museum.

Interior

[edit]

The first and second floors house the National Gallery (Galleria Nazionale).

Elsewhere in the palace the royal apartments are furnished with antique 18th century furniture and a collection of porcelain and maiolica from the various royal residences. The famous Capodimonte Porcelain Factory was just adjacent to the palace; it was started in 1743 by the Bourbon King Charles.

Gardens

[edit]

The palace is situated in the Bosco di Capodimonte ('Hilltop Wood'), now a park, which served as a royal hunting preserve.

See also

[edit]

References

[edit]
  1. ^ a b Acton, Harold (1957). The Bourbons of Naples (1731-1825). London: Faber and Faber. ISBN 9780571249015.
  2. ^ Official website
  3. ^ Thomas, Robin (2016). The Royal Palace of Capodimonte: the Early Years. Pennsylvania: NAPOLI NOBILISSIMA VOLUME LXXII DELL'INTERA COLLEZIONE RIVISTA DI ARTI, FILOLOGIA E STORIA SETTIMA SERIE -VOLUME II FASCICOLO III -SEPTEMBER - DECEMBER 2016. pp. 23–32. Retrieved 2023-02-07.
[edit]
Wikimedia Commons has media related to Palace of Capodimonte.

40°52′01.22″N 14°15′01.92″E / 40.8670056°N 14.2505333°E / 40.8670056; 14.2505333

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