St Bodil's Church (Sankt Bodil Kirke) was built around 1200. It was dedicated to the English saint Botulf but by 1530 it had mistakenly become known by the woman's name "Bodil" although there has never been a Saint Bodil. As a result, the parish is called Bodilsker. The church first belonged to the Archbishopric of Lund, then came under the Danish crown at the time of the Reformation. In the 19th century, it became fully independent.
The church consists of an apse, chancel and nave from the Romanesque period, slightly more recent west tower and a Late-Gothic porch for the south door. Foundations unearthed beside the tower indicate that it had originally been planned as a larger addition. There are two rounded arches giving access from the nave to the base of the tower. The large north transept was added in 1911. Although some local sandstone and fieldstone has been used, the predominant building material is limestone which in particular has been used for the door and window frames. The apse ceiling consists of a half-dome vault. There were only three windows in the original building, one in the apse which was restored in 1874 and one on each side of the nave. New windows have since been added. Both the Romanesque portals have been almost fully preserved. The stonework on the south door is particularly well executed.
The bell tower, first documented in 1624, is topped by a half-timbered section and originally served as an entrance portal. The main structure dates from around 1600. Minor repairs were carried out in the 18th century.
Close to the entrance, the former Romanesque font, made of Gotland limestone, is similar to those in Ny Kirke and Vestermarie Church but better proportioned. The new granite font stands to the left of the chancel arch. Above the old font is part of the former Renaissance altarpiece, a painting of Christ on the road to Emmaus by Jørgen Roed. The two candlesticks on the main altar date from the mid 16th century. The carved oak pulpit from c. 1600 has four panels depicting the evangelists and their symbols.References:
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.