Naples, first impressions

Naples.

I was here once before about 12 years ago. It was high time for another visit, to see again my favorite places and to try out new ones.

I arrived on Feb. 28, 2022 on a sunny but still chilly afternoon. I arrived by train from Florence, a 3 hour journey on the fast Italo train, and rode the Neapolitan subway for the first time. All went well except of course many of the escalators weren’t working which is only a problem when you have to lug a suitcase up. Which I did.

After checking into my hotel and getting settled, off I went to explore. I went straight into the heart of the historic center, spending my time on the dark and narrow central streets that are really more like allies. They often run right into an open piazza, where the February sunshine was brilliant and a bit shocking after the dark innards.

If you read my blog posts, you know I am very fond of the quaint Italian tradition of posting death notices. In the well cared for towns of the central and northern parts of Italy, the part I am fortunate to call home for the past 7 years, there are dedicated places for these notices. In Siena and Parma, for example, there are spaced designated for the notices and they are neatly hung.

But in Naples, I discovered that a death notice can be hung on any available street space and sometimes the notice for the same deceased person is hung multiple times in a single neighborhood. I’ve never seen that up north. The two photos above are not of the same wall; it’s two neighboring walls with the same notices repeated.

And then there is this death notice, glued to an electrical box. Also, as you can see by the pavement in front, Naples isn’t clean.

You’ve got to be careful when taking pictures. There aren’t sidewalks in the narrow streets and you could easily get hit by a cycle or bike. This rider zoomed into frame while I was focusing on the storekeeper and the peppers hanging above his head. Whoosh! If you aren’t careful, the next stop is the ospedale!

Lots of things here aren’t elegant. I’m spoiled by the well kept streets of Florence. Even the mom and pop stores usually have some nice design feature; items artfully displayed to catch your eye.

But, in Naples, even the store of the elegant profumery, “Carthusia, I profumi di Capri” has this tacky metal door over the front. Metal fronts are ubiquitous in Italy for securing closed businesses. But usually they are blank. This painted metal door is clearly an intentional work of art by an artist who signed it.

A very tacky wedding gown in a tacky store.

And, below, a souvenir store so unapologetically tacky that I love it!

I set out to find the duomo of Naples and here it is. Very lovely, but closed of course during the time I was there. I’ll go back when it’s open.

Above is one of the bright open piazzas I mentioned above. Turning to the left, one sees the scene in the next photos:
Look at the image above. The narrow street looks like it goes on for miles, maybe right into the bay!

Piazzetta Nilo

Another open, bright piazza, enjoyed to the fullest by the Neapolitans on this sunny afternoon!

A very modest church facade in the heart of the historic district. This sure ain’t St. Peter’s!

Above, another bright open piazza. A Romanish river god statue graces the centerish. Pendino

Palazzo Reale, Naples

The Royal Palace of Naples is a palace and now a museum. It was one of the 4 residences near Naples used by the House of Bourbon during their rule of the Kingdom of Naples (1735–1816) and later the Kingdom of the Two Sicilies (1816-1861). The others were the palaces of Caserta, Capodimonte overlooking Naples and Portici on the slopes of Vesuvius.

Statues of kings of Naples
In 1888, King Umberto I of Savoy made changes to the western façade side of the building (fronting on Piazza del Plebiscito), by displaying in niches a series of statues of prominent rulers of Naples since the foundation of the Kingdom of Naples in the 12th century. The statues are displayed in chronological order, based on the separate dynasty of each ruler.

The series starts with Roger the Norman, and ends with Vittorio Emanuele II, the tallest statue and the last to be added. The other figures represent:

Frederick II Hohenstaufen (by Emanuele Caggiano)
Charles I of Anjou (sculpted by Tommaso Solari)Alfonse of Aragon (sculpted by Achille D’Orsi)
Emperor Charles V (sculpted by Vincenzo Groan)
Charles III of Spain (sculpted by Raffaele Belliazzi)
Joachim Murat (sculpted by Giovanni Battista Amendola)


None of the statues refers to the Bourbon dynasty, not even Charles of Bourbon, who is actually engraved with the name of Charles III.

Roger the Norman

Frederick II (Holy Roman Emperor)

Charles I of Anjou

Alfonso V of Aragon (Alfonso I of Naples)

Charles V, Holy Roman Emperor (Charles I of Spain

Charles III of Spain (Charles of Bourbon)

Gioacchino Murat

Vittorio Emmauele II

The facade of San Lorenzo, Florence


The Medici Pope Leo X gave Michelangelo the commission to design a façade in white Carrara marble in 1518. Michelangelo made a wooden model, which shows how he adjusted the classical proportions of the facade, drawn to scale, after the ideal proportions of the human body, to the greater height of the nave. The work remained unbuilt. Michelangelo did, however, design and build the internal facade, seen from the nave looking back toward the entrances. It comprises three doors between two pilasters with garlands of oak and laurel and a balcony on two Corinthian columns.


In recent years, the association of “Friends of the Elettrice Palatina” and the Comune of Florence re-visited the question of completing the outer facade according to Michelangelo’s designs. To assist with the public debate, a computerized reconstruction was projected onto the plain brick facade in February 2007. As yet, no decision has been made on the project.[5]

The campanile dates from 1740.