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The Flavian Amphitheater is the third largest Roman amphitheater in Italy. Only the Roman Colosseum and the Capuan Amphitheaters are larger. It was likely built by the same architects who previously constructed the Roman Colosseum.
It was begun under the reign of the emperor Vespasian and probably finished under the reign of his son Titus. The arena can hold up to 50,000 spectators. The interior is mostly intact and one can still see parts of gears which were used to lift cages up to the arena floor.
In 305, the arena was the setting for the persecutions of the patron of Pozzuoli, Saint Proculus, and the patron saint of Naples, Saint Januarius. After surviving being thrown to the wild beasts in the arena, the two were beheadedat the nearby Solfatara.
The elliptical structure measures 147 x 117 meters, with the arena floor measuring 72.22 x 42.33 meters.
The Flavian Amphitheater is the second of two Roman amphitheaters built in Pozzuoli. The smaller and older amphitheater (Anfiteatro minore) has been almost totally destroyed by the construction of the Rome to Naples railway line. Only a dozen arches of this earlier work still exist.
The site of the structure was chosen at the nearby crossing of roads from Naples, Capua and Cumae. It was abandoned when it was partially buried by eruptions from the Solfatara volcano. During the Middle Ages, the marble used on the exterior was stripped, but the interior was left alone and is perfectly preserved. Excavations of the site were performed 1839 to 1845, 1880 to 1882, and finally in 1947.
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Monastery of São Vicente de Fora (Monastery of St. Vincent Outside the Walls) is a 17th-century church and monastery in the city of Lisbon. It is one of the most important monasteries and mannerist buildings in the country. The monastery also contains the royal pantheon of the Braganza monarchs of Portugal.
The original Monastery of São Vicente de Fora was founded around 1147 by the first Portuguese King, Afonso Henriques, for the Augustinian Order. The Monastery, built in Romanesque style outside the city walls, was one of the most important monastic foundations in mediaeval Portugal. It is dedicated to Saint Vincent of Saragossa, patron saint of Lisbon, whose relics were brought from the Algarve to Lisbon in the 12th century.
The present buildings are the result of a reconstruction ordered by King Philip II of Spain, who had become King of Portugal (as Philip I) after a succession crisis in 1580. The church of the monastery was built between 1582 and 1629, while other monastery buildings were finished only in the 18th century. The author of the design of the church is thought to be the Italian Jesuit Filippo Terzi and/or the Spaniard Juan de Herrera. The plans were followed and modified by Leonardo Turriano, Baltazar Álvares, Pedro Nunes Tinoco and João Nunes Tinoco.
The church of the Monastery has a majestic, austere façade that follows the later Renaissance style known as Mannerism. The façade, attributed to Baltazar Álvares, has several niches with statues of saints and is flanked by two towers (a model that would become widespread in Portugal). The lower part of the façade has three arches that lead to the galilee (entrance hall). The floorplan of the church reveals a Latin cross building with a one-aisled nave with lateral chapels. The church is covered by barrel vaulting and has a huge dome over the crossing. The general design of the church interior follows that of the prototypic church of Il Gesù, in Rome.
The beautiful main altarpiece is a Baroque work of the 18th century by one of the best Portuguese sculptors, Joaquim Machado de Castro. The altarpiece has the shape of a baldachin and is decorated with a large number of statues. The church also boasts several fine altarpieces in the lateral chapels.
The Monastery buildings are reached through a magnificent baroque portal, located beside the church façade. Inside, the entrance is decorated with blue-white 18th century tiles that tell the history of the Monastery, including scenes of the Siege of Lisbon in 1147. The ceiling of the room has an illusionistic painting executed in 1710 by the Italian Vincenzo Baccarelli. The sacristy of the Monastery is exuberantly decorated with polychromed marble and painting. The cloisters are also notable for the 18th century tiles that recount fables of La Fontaine, among other themes.
In 1834, after the religious orders were dissolved in Portugal, the monastery was transformed into a palace for the archbishops of Lisbon. Some decades later, King Ferdinand II transformed the monks' old refectory into a pantheon for the kings of the House of Braganza. Their tombs were transferred from the main chapel to this room.