Mogiła Abbey is a Cistercian monastery founded in 1222 by the Bishop of Kraków, Iwo Odrowąż. It was the largest and most impressive church in medieval Poland after Wawel Cathedral, and served as the Odrowąż family's burial place until the 16th century.
The monastic community, consisting of the 13 professed monks mandatory for an independent monastery, moved in around 1225, although the expansion of the abbey continued for years to come. The Mogiła Abbey was confirmed by the Roman Curia through a papal bull signed by Pope Gregory IX on 9 June 1228.
In 1241 the abbey was ransacked in the course of the Mongol invasion of Poland. It was rebuilt and the abbey church was consecrated in 1266 by Bishop Jan Prandota. It was later consumed by fire in 1447. It was ravaged again in the 17th century by the invading Swedish army. The abbey was destroyed and its entire resident population was killed by the Swedes, except for two monks whose lives were spared. The structure was renovated numerous times. The Baroque façade of the monastery church was added in 1779–80, based on a design by Franz Moser.
Under the reign of Abbot Erazm Ciołek (a relative of the noted scholar, Bishop Erazm Ciołek of Płock), who was elected as abbot in 1522, the abbey was restored to its former glory, with a greatly expanded collection of rare books. He died two years after being appointed the Vicar General of the Archdiocese of Kraków in 1544, and was buried in the abbey cemetery.
This abbot employed the services of the Polish Renaissance painter Stanisław Samostrzelnik, known also as Stanisław z Mogiły (c. 1490-1541), who spent his final years working at the abbey, where he died. His frescoes are featured in the right-hand transept and in one of the chapels of the monastery church, including his painting on the forward wall of the chancel from c. 1530.
The architectural complex includes the stuccoed Polish Gothic church, the Basilica of the Holy Cross, which serves as the Parish Church of St. Bartholomew the Apostle as well as the abbey church for the monks. There is also the Polish Renaissance-style abbot's palace, built around 1569, as well as the red-brick monastery, with a broad inner courtyard, outbuildings, vegetable garden, greenhouse, etc.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.