Güstrow Cathedral is a Brick Gothic Lutheran cathedral initially completed in 1335. It is the oldest extant building in Barlachstadt Güstrow. The church was originally dedicated by the Bishop of Kammin. The cathedral's charter was removed in 1552, and the cathedral fell into disuse and was used to house vehicles for 12 years. In 1568 it began to be used as an evangelical palace chapel and resting place for Güstrow's aristocratic house, maintaining this honour until 1695.
The Güstrow Cathedral attests to the influence of several different styles: began as a Romenesque building it was completed as a Brick Gothic site. The cathedral is home to a multitude of artistic treasures spanning a historical period lasting from the Late Romantic epoch through to the Early Modern period. Amongst the most well-known are a Late Gothic winged altar made by Hinrik Bornemann, a monument to Duke Ulrich designed by Phillip Brandin and an apostle figure conceptualised by Ernst Barlach, known as 'the Waverer'. The latter was dedicated to the war in 1927; was denounced as 'degenerate art' in 1937 and was melted military for use during the Second World War. In 1953, the 'Waverer' was remolded, and was replaced in the cathedral, hanging above a 18th century cast-iron baptism font.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.