Fortrose Cathedral was the episcopal seat of the medieval Scottish diocese of Ross. It is probable that the original site of the diocese was at Rosemarkie (as early as AD 700), but by the 13th century the canons had relocated a short distance to the south-west to the site known as Fortrose or Chanonry. The first recorded bishop, from around 1130, was Macbeth. According to Gervase of Canterbury, in the early 13th century the cathedral of Ross was manned by Céli Dé.
The oldest part of the present ruin is north choir range of the late 1300s. This range is now free-standing but was once attached to the choir. The only other part still standing is south aisle and chapel, built in the late 1300s.
The cathedral ceased to function as such at the Protestant Reformation in 1560. The story goes that most of the stonework went to build Cromwell’s citadel in Inverness in the early 1650s.
Only the ground plan survives of the cathedral itself. All that remains above ground are two separate structures that once projected out from it. The older of the two is the two-storey building that projected from the north side of the choir. This housed the sacristy and chapter house at ground level, and perhaps a treasury and library on the more secure upper floor. Though never a wealthy diocese, the chapter comprised 21 senior clergy, called canons.
After the Reformation, the building was retained and fitted out as the burgh’s tollbooth (town hall and prison). The upper floor was adapted as the council chamber and court house, and the lower floor as a prison.
This elegant structure was added to the south wall of the nave in the late 1300s by Countess Euphemia of Ross (d. 1395). It was doubtless intended as a chantry chapel, where prayers were said for the countess’s soul. Her fine canopied tomb, with little left of its effigy, is built into the east arch of the chapel. Two other monumental tombs are of Bishop Fraser (d. 1507) and Bishop Cairncross (d. 1545).
The quality of the structure’s masonry is outstanding. It is evident in the fine stone vaulting and in what remains of the elaborate window tracery. You can also see this quality in the internal fixtures such as the piscina in the chapel, where the vessels used at Mass were ritually cleansed.
As with the north choir aisle, alterations were made after the Reformation. The most obvious of these was the addition of a clock turret above the stair tower.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.