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The French Renaissance in Naples: Castel Nuovo and the Borgo Orefici
Among the many foreign dominations that the city of Naples was subjected to, the French left an indelible mark on the architecture, culture and art of the Kingdom.
A journey through castles, churches, palaces and streets allows us to admire the French legacy in Naples. From the walls of Castel Nuovo, embellished by the Arch of Triumph, to the Borgo Orefici district, rich in artisan workshops and eighteenth-century buildings, the French left their unforgettable mark on this ancient, thousand-year-old city.
The Neapolitan dialect shows a notable French influence, with terms such as "Ampressa" (from "empressé", meaning "in a hurry") and "Arrangià" (from "arranger", meaning "to make do with a situation").
French architecture left a significant imprint on the history of Naples, with Castel Nuovo, also known as Maschio Angioino, built in 1279 on the initiative of Charles I of Anjou. This fortress replaced the old Castel Capuano, considered inadequate, and thanks to the French architect Pierre de Chaulnes, it was completed in just 3 years.
The Basilica di San Lorenzo Maggiore (Basilica of St Lawrence the Greater) is another example of French architecture, with its apse built in the French Gothic style. The streets of Naples bear names such as Rua Catalana and la Renovella, derived from the French word "Rue" (street).
The Borgo Orefici (Goldsmiths' Quarter), a commercial district located between Corso Umberto and Via Marina, bears witness to this French legacy, with French craftsmen bringing the art of goldworking to Naples during the reign of Queen Joanna of Anjou. Today, the Borgo Orefici remains a landmark for expert gold artisans, home to the Museum of Goldsmith Arts and the goldsmithing school "La Bulla" (The Golden Amulet).
Catalana, Renovella or Borgo Orefici. This last one was the place where the refined art of goldworking was introduced to Naples by the French, becoming the quarter of master gold artisans that still characterises it to this day.
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