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The Royal Palace is largely 18th-century in character, with its vast layout, imposing façade and important rooms such as the ballroom and the chapel. However, later embellishments took a Neo-Classical turn, in particular the marvellous grand staircase. Under Napoleonic rule many of the rooms received a thorough makeover, which dominates the decor today. Don’t miss the fine Renaissance and Baroque paintings from the royal collection, including works by Guercino, Spadarino and several Flemish masters (see Palazzo Reale, Naples).

This rather sombre fortress is a study in stylistic contrasts – in direct opposition to its bulky grey towers, the marble Triumphal Arch exudes the delicacy of the early Renaissance. Inside, the spartan blankness is relieved by the wondrously complex ceiling of the Barons’ Hall, while the fresco fragments and sculptures in the chapel juxtapose with the harsh reality of the dungeons. In addition there are fine collections of religious and secular artwork. Go up to the battlements to take in the panorama (see Castel Nuovo, Naples).

If there is one place that could be called the true museum of Naples, this is it. So varied are the collections and the architecture that all aspects of the city’s history and cultural output seem to be represented here. These include a large collection of Nativity scenes and figures, some of Naples’ most significant paintings and sculptures, views of the city painted in different eras, a decorative arts collection, and the exuberantly Baroque church, decorated by the best Neapolitan artists of the 17th and 18th centuries.

The impetus to build this imitation Pantheon came from the Napoleonic king Joachim Murat (1808–15). Completed under the reinstated Bourbon dynasty, the idea was to do away with the chaotic jumble around the palace by recreating a version of the ancient Roman temple to the gods and setting it off with arcades echoing those of St Peter’s. It dominates a semicircular piazza with the Palazzo Reale at the opposite end.

Actually an appendage to the Palazzo Reale, built by order of King Charles, this opera house predates the famous La Scala in Milan by some 40 years. Officially opened on 4 November 1737, it has never ceased to be one of the most important and innovative opera houses in the world. The interior was originally done up in the Bourbon colours of silver, gold and sky blue, but after being rebuilt following a fire in 1816 the colour scheme is now mostly gold and red, though no less sumptuous. It was compared by French writer Stendhal to an Oriental emperor’s palace. A museum is due to open soon.

Part of the Urban Renewal Plan following the cholera epidemic of 1884 (see Cholera Epidemic), this light-filled space is home to elegant buildings with Neo-Renaissance embellishments and marble floors, overarched by a roof of iron and glass. Located across from the Royal Palace and Teatro San Carlo, the spot immediately became popular with the city’s smart and artistic set, and even today has an air of bygone charm.

In ancient times, this spot was part of the vast estate of the Roman general Lucullus. At the end of the 5th century an order of monks founded a monastery here, then the Normans built the first castle. It was modified by succeeding dynasties, achieving its present form in the 16th century. Legend has it that its name derives from a magic egg (uovo ) hidden inside, supposedly placed there by the Roman poet Virgil. The building is now used for cultural events.

Designed by Luigi Vanvitelli and inaugurated in 1781 as the royal gardens, this large, public park, right on the bay, was completely refurbished in 1994. Graced with many 19th-century copies of Classical statuary, and was once home to the monumental ancient work, the Farnese Bull group, now in the Museo Archeologico (see Farnese Hercules). Other adornments include a Neo-Classical aquarium, Europe’s oldest, and a magnificent iron and glass bandstand (see Villa Comunale, Naples).

Since 1927 this former villa of a king’s morganatic wife has been home to a prestigious collection of European and Oriental decorative art. Of the 6,000 objects, highlights are Hispano-Moorish lustreware, Italian majolica tiles, Limoges porcelain and 18th-century Oriental porcelain (see Museo Nazionale della Ceramica Duca di Martina, Naples).

This Angevin castle dating from 1329 was upgraded to its six-point configuration in the 16th century, giving it a militaristic presence looming above the city. In later centuries it was used as a prison, remaining in military possession until 1976. It now houses libraries and cultural activities.