The Nuraghe La Prisgiona is a nuragic archaeological site (occupied from the 14th until the 9th century BC), located in the Capichera valley in the municipality of Arzachena Costa Smeralda in the north of Sardinia. It consists of a nuraghe and a village comprising around 90-100 buildings, spread across 5 hectares. Findings from this site are in many cases unique in Sardinia, particularly with regard to decoration and use. Due to the large extent and number of buildings the site is considered unique in North-East Sardinia. There is also some evidence for occupation during Roman and medieval times. The Giants' grave Coddu Vecchiu is located nearby.
The nuraghe presides over an area of several square kilometers, with its prominent role confirmed by the size and the complexity of the architectural structure itself. The nuraghe is a complex nuraghe, of tholos (beehive tomb) typology, rather unusual in Gallura. The monument has a central tower (the keep) and 2 side towers, forming a bastion.
The keep has an entrance defined by a massive lintel of 3.20 m length. The central chamber has a false dome, which is more than 6 meters high, with three niches in its interior. The bastion is further protected by a curtain wall that encloses a large courtyard.
Also within the bastion is a well, which is over 7 meters deep and still functioning today. At the bottom of the well many ceramic artefacts were uncovered. Among them are many pitchers of the askoid typology, finely decorated and with traces of ancient repairs, giving evidence of their great value. The pitchers were not meant to simply hold liquids, but are clearly destined for other purposes. This unusual find prompts questions as to why these vessels were abandoned at the bottom of the well, and whether the may have been used during rituals.
The “meeting hut”, a peculiar round building, is located just a few meters from the well, which perhaps is not coincidental. The ring shaped bench with 16 seats in the meeting hut may have been used by leaders or other people of rank (secular or religious). The importance and the exclusivity of the place is further confirmed by the discovery of a vase of unusual form and decoration. The vase was probably used to hold a special beverage, perhaps a decoction or an unusual distillate, whose consumption may have been restricted to a limited number of people, perhaps the 16 people attending meetings.
Royal Palace of Naples was one of the four residences near Naples used by the Bourbon Kings during their rule of the Kingdom of the Two Sicilies (1734-1860): the others were the palaces of Caserta, Capodimonte overlooking Naples, and the third Portici, on the slopes of Vesuvius.
Construction on the present building was begun in the 17th century by the architect Domenico Fontana. Intended to house the King Philip III of Spain on a visit never fulfilled to this part of his kingdom, instead it initially housed the Viceroy Fernando Ruiz de Castro, count of Lemos. By 1616, the facade had been completed, and by 1620, the interior was frescoed by Battistello Caracciolo, Giovanni Balducci, and Belisario Corenzio. The decoration of the Royal Chapel of Assumption was not completed until 1644 by Antonio Picchiatti.
In 1734, with the arrival of Charles III of Spain to Naples, the palace became the royal residence of the Bourbons. On the occasion of his marriage to Maria Amalia of Saxony in 1738, Francesco De Mura and Domenico Antonio Vaccaro helped remodel the interior. Further modernization took place under Ferdinand I of the Two Sicilies. In 1768, on the occasion of his marriage to Maria Carolina of Austria, under the direction of Ferdinando Fuga, the great hall was rebuilt and the court theater added. During the second half of the 18th century, a 'new wing' was added, which in 1927 became the Vittorio Emanuele III National Library. By the 18th century, the royal residence was moved to Reggia of Caserta, as that inland town was more defensible from naval assault, as well as more distant from the often-rebellious populace of Naples.
During the Napoleonic occupation the palace was enriched by Joachim Murat and his wife, Caroline Bonaparte, with Neoclassic decorations and furnishings. However, a fire in 1837 damaged many rooms, and required restoration from 1838 to 1858 under the direction of Gaetano Genovese. Further additions of a Party Wing and a Belvedere were made in this period. At the corner of the palace with San Carlo Theatre, a new facade was created that obscured the viceroyal palace of Pedro de Toledo.
In 1922, it was decided to transfer here the contents of the National Library. The transfer of library collections was made by 1925.
The library suffered from bombing during World War II and the subsequent military occupation of the building caused serious damage. Today, the palace and adjacent grounds house the famous Teatro San Carlo, the smaller Teatrino di Corte (recently restored), the Biblioteca Nazionale Vittorio Emanuele III, a museum, and offices, including those of the regional tourist board.