Narbonne Cathedral,dedicated to Saints Justus and Pastor, was the seat of the Archbishop of Narbonne until the Archbishopric was merged into the Diocese of Carcassonne under the Concordat of 1801. The church was declared a basilica minor in 1886. The building, begun in 1272, is noted for being unfinished.
The site has a long history as a place of worship. In 313, just after the Edict of Milan, a Constantinian basilica was erected on approximately the same spot as the present cathedral. Ruined by a fire in 441, it took 37 days to demolish those parts of the basilica that had escaped destruction. Then a Latin basilica was constructed by Bishop Rusticus, who was encouraged in his work by the Gaulish prefect, Marcellus. The basilica was finished on November 29, 445. Originally dedicated to Saint Genesius of Arles, it was re-dedicated in 782 to the young Spanish martyrs Saint Justus and Pastor. Little remains of this building: two Roman columns from the former forum, used in the nave, can now be seen in the present cloister; the lintel and an aedicule of white marble can now be seen in the Lapidary Museum of Narbonne.
A Carolingian cathedral was erected in 890 by Archbishop Theodard (d. 893). Its steeple, largely restored, is visible from the cloister. Yet despite the help given to it by three popes, this church fell into ruin.
The idea to build a Gothic cathedral was a political decision made in 1268 by Pope Clement IV, the former archbishop of Narbonne. He decided that it would be a monument made in the magnificent style of the Kingdom of France. The construction of the new cathedral was supposed to begin in 1264, but did not actually start until 1272. The first stone of the current cathedral was laid by Archbishop Maruin on April 13, 1272, in the foundation of the current Chapel of the Sacred Heart.
The choir was finished in 1332, but the rest of the building was never completed, as the result of many factors including sudden changes in the economic status of Narbonne, its unusual size and geographical location (to complete it would have meant demolishing the city wall) and financial constraints.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.