Palace of Portici

The Palace of Portici, known locally as Reggia di Portici, is a splendid historical gem nestled in the coastal town of Portici, just a few kilometers southeast of Naples, Italy. This grandiose palace was constructed between 1738 and 1743 under the reign of Charles VII of Naples, who later became Charles III of Spain. Initially conceived as a royal retreat, the Palace of Portici has evolved over the centuries, becoming a testament to the opulent lifestyle of the Bourbon kings and a treasure trove for art and history enthusiasts.

The Origins of the Palace

Legend has it that the idea for the Palace of Portici was born out of a serendipitous event in May 1737. King Charles and his queen, Maria Amalia of Saxony, sought refuge from a storm in the small port of Granatello and the nearby Villa d'Elboeuf. Enamored by the scenic beauty of the location, the queen suggested the construction of a countryside residence in the charming village of Portici. Whether inspired by this event or driven by his own interests in hunting and archaeology, King Charles soon embarked on the ambitious project of building the palace.

Construction began in 1738 with the acquisition of several properties, including the villa and estate of the Count of Palena and the palace of the Prince of Santobuono. These properties were strategically located east of the Strada delle Calabrie (now Via Università) and offered a stunning view of Mount Vesuvius. The initial design and construction were overseen by the architect Giovanni Antonio Medrano, with assistance from military engineer Roque Joaquín de Alcubierre and chief gardener Francesco Geri. However, in 1741, Medrano was replaced by Antonio Canevari, who was tasked with incorporating the existing structures into a new, grand design.

The Splendor of the Interiors

By 1743, the focus shifted to the interior decoration of the palace, a project led by Giuseppe Bonito, the King's Chamber Painter. Bonito, along with artists Crescenzo Gamba and Giuseppe Pansa, adorned the palace with exquisite frescoes, including those in the Royal Chapel, the Guard Room, and the Antechambers. The scenographer Vincenzo Re contributed with grand architectural illusions in the main staircase, while the renowned boudoir of porcelain for Maria Amalia of Saxony was crafted by the Gricci brothers and painter Giovanni Sigismondo Ficher.

The gardens, designed by Medrano, Alcubierre, Geri, and sculptor Giuseppe Canart, complemented the palace's grandeur. Although relatively modest in size, the palace's construction spurred the development of numerous noble residences in the vicinity, known as the Vesuvian Villas of the Golden Mile, as aristocratic families sought proximity to the royal court.

The Herculanense Museum

One of the most fascinating aspects of the Palace of Portici is its connection to the discovery of the ancient Roman cities of Herculaneum and Pompeii. In 1738, during the palace's construction, engineer Roque Joaquín de Alcubierre stumbled upon significant archaeological remains, including a temple with 24 marble columns. This discovery led to the unearthing of Herculaneum and, a decade later, Pompeii.

In 1758, King Charles established the Herculanense Museum on the palace's ground floor to showcase the remarkable artifacts from these excavations. The museum, managed by the newly founded Accademia Ercolanese, became a pilgrimage site for scholars, aristocrats, and travelers on the Grand Tour. The museum's significance was such that Goethe once described it as the alpha and omega of all collections of antiquities.

However, the dual role of the palace as both a royal residence and a museum led to complications. By 1768, discussions began about relocating the museum, and by 1827, the remaining artifacts were transferred to Naples, marking the end of the Herculanense Museum at Portici.

Under Different Reigns

The Palace of Portici continued to serve as a royal retreat under Ferdinand IV, Charles's son, and his wife, Maria Carolina of Austria. The palace hosted notable guests, including Emperor Joseph II and the young Mozart. Despite surviving several eruptions of Mount Vesuvius, the palace faced damage during the Napoleonic Wars and the Napoleonic occupation of Naples.

During the French decade (1806-1815), the palace underwent significant interior redecorations under the direction of Parisian architect Étienne-Chérubin Leconte. The palace was transformed with Empire-style decor, making it more intimate and elegant. Queen Caroline Murat, sister of Napoleon, favored the palace and filled it with an impressive collection of troubadour paintings.

The Modern Era

After the unification of Italy, the Palace of Portici came under the ownership of the House of Savoy. In 1871, King Victor Emmanuel II sold the property to what is now the Faculty of Agriculture of the University of Naples Federico II, which still occupies the building today. The palace and its gardens are currently undergoing restoration and house several museums dedicated to natural sciences.

The Palace of Portici stands as a testament to the opulence and historical significance of the Bourbon kings. Its walls and gardens echo the stories of royal retreats, archaeological discoveries, and artistic endeavors, making it a must-visit destination for history enthusiasts and casual tourists alike.