The church of St. Euphemianos is a very small, single-dome, stone building and its interior is decorated with frescoes dating back to the 13th and 14th centuries. The inscription on the bottom of the arch indicates that the temple was dedicated by Lavrentios, monk and abbot of St. Andronikos Monastery. Technically, the Church of St. Euphemianos is a chapel, due to its diminutive size and the fact that it was not the main church of Lysi, there was no priest assigned to it, and services were only held there on special occasions.
The dome of the church is decorated with a fresco showing Christ Pantocrator, the 'All sovereign'. Surrounding the figure of Christ is a double row of angels moving towards the Hetoimasia or empty throne prepared by God the Father for the Second Coming of Christ. The throne is guarded by the Archangel Michael and Archangel Gabriel and two seraphim. The Virgin Mary leads one line of angels to the throne, while John the Baptist leads the other. In the apse, the Virgin is depicted as flanked by the two archangels with a medallion on her breast of the infant Christ, symbolizing the Incarnation of Christ.
The frescoes within the church were maintained in good condition and in 1972 maintenance was undertaken by the Department of Antiquities of Cyprus. Following the 1974 Turkish invasion the frescos were removed, sometime between 1974 and the spring of 1983. The dome fresco with Christ Pantokrator and an apse depicting the Virgin Mary were cut into 38 pieces, and shipped to Germany by Aydın Dikmen, the Turkish art dealer and notorious smuggler, who claimed they originated from an abandoned church in southern Turkey, and prepared to sell them into the European art market. The Department of Antiquities of Cyprus was able to show that the murals were forcibly removed from the church of St. Euphemianos and following lengthy negotiations, it was agreed that ownership of the murals belongs to the Orthodox Church of Cyprus. The 38 fresco fragments were bought by the Houston-based Menil Foundation on behalf of the Greek Orthodox Church of Cyprus, the rightful owner of the frescoes. The Menil Foundation then funded a careful restoration of the paintings.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.