Hedared Stave Church is Sweden's only preserved medieval stave church. For a long time it was assumed Hedared stave church dated to early medieval times because it was built as a stave church. Already at the beginning of the 20th century, the archaeologist and architectural historian Emil Ekhoff argued that the church was considerably later than the stave church in Hemse on Gotland, fragments of which he had found under the floor of the current Romanesque stone church during an 1896 excavation, and other stave churches that he had recorded either archaeologically or through written sources. Ekhoff posited a late-medieval, 14th or 15th century, date, with a preference for the former. He based this on some of the carpentry techniques used in the church.
Dendrochronological methods have later confirmed Ekhoff's suspicion of a late dating and have been able to narrow it down to the very end of the medieval period. The logs date to some time around 1498-1503, with 1501 as the most likely year for the felling of the trees and a building year in the following years, to allow for the drying of the wood. A 1506 letter from the bishop mentioning the construction of a church in the parish is likely to refer to this building.
The interior is tiny (35 square meters) and very plain, and when originally built, the church had only walls and a roof, earth floor and no windows. It has been modified and added to a couple of times, gaining wooden floor in 1735 and the present windows in 1781. Before that it only had a small light hole (lysglugg). In 1901 its exterior was restored to be as original as possible, but the windows were kept. In 1934-35 the interior was restored, and when removing the inner walls an altar painting was discovered. It was painted directly on the wall. A more advanced restoration took place in the 1990s. The church was raised some 70 centimetres, and the old wooden ground was replaced.
There is an old altar (kalk) in the church, dating from the 13th century, wooden sculptures of Virgin Mary and Saint Francis and beautiful old paintings. Those are done by Johan Ehrenfrid, although the altar painting is older and assumed to have been made some time during the medieval times. As the church is dated very late in the medieval times this could indicate that the painting was done when the church was built.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.