Ravello and its Villas

Ravello is a little town perched high above the Amalfi Coast, with spectacular views. This is intended as a short companion piece to my earlier article on Amalfi and the Sorrentine Peninsula – I had originally intended to write about Amalfi and Ravello in the same post but in the end it seemed more sensible to split them due to the number of photographs.

Location and History

Ravello sits on a steep hilltop very close to Amalfi itself. We were staying in the village of Pogerola which was on a similar hill across the deep valley which leads down to Amalfi.

Ravello from Pogerola
A distant view of Ravello from the nearby village of Pogerola. Right in the middle of the picture is a vertical cliff, topped with green vegetation. Those are the gardens of the Villa Cimbrone (see below). Hasselblad 501 C/M camera, Zeiss Planar C 80mm lens, 6x6cm rollfilm back, Fujichrome Velvia 50 film. Three images, stitched in Photoshop (click to enlarge).

As for its origins, there are a few rather implausible-sounding origin stories (founded by shipwrecked Roman nobles, that sort of thing) but the most likely is that it grew up alongside Amalfi from the 6th Century or so, sharing its fortunes and misfortunes. Its rugged hilltop would certainly have made it easily defensible.

Ravello
View southwest from Ravello. I believe the coastal town away in the distance is Maiori. Hasselblad 501 C/M camera, Zeiss Planar C 80mm lens, 6x6cm rollfilm back, Fujichrome Velvia 50 film (click to enlarge).
Ravello
View from Ravello, looking almost straight down towards the town of Atrani. Amalfi is round the headland to the right. Hasselblad 501 C/M camera, Zeiss Planar C 80mm lens, 6x6cm rollfilm back, Fujichrome Velvia 50 film (click to enlarge).

It did apparently have its own commercial specialisation, which was dyeing wool derived from flocks of sheep from the surrounding mountains. It would presumably have been dependent on Amalfitani ships to export the finished product. From time to time Ravello asserted its independence for a while, before being reabsorbed into whatever state controlled Amalfi at that moment.

Ravello
Ravello, Romanesque campanile. Hasselblad 501 C/M camera, Zeiss Planar C 80mm lens, 6x6cm rollfilm back, Fujichrome Velvia 50 film (click to enlarge).

These days Ravello is very much on the Amalfi tourist itinerary – the town itself is charming and the views are magnificent. We visited mainly to see two famous villas – Villa Rufolo and Villa Cimbrone.

Villa Rufolo

Villa Rufolo
Villa Rufolo, Ravello, showing both the medieval and 19th-Century parts. Hasselblad 501 C/M camera, Zeiss Sonnar CF 150mm lens, 6x6cm rollfilm back, Fujichrome Velvia 50 film (click to enlarge).

Villa Rufolo was built by the Rufolo family which was wealthy and powerful in Ravello’s glory days. There is a reference to them in Boccaccio’s Decameron which is presumably the basis for a story that Boccaccio visited here – I thought that a bit implausible at first but it seems that it is possible; he spent part of his youth in Naples.

Villa Rufolo
Entrance to the Villa Rufolo, looking very medieval. Hasselblad 501 C/M camera, Zeiss Planar C 80mm lens, 6x6cm rollfilm back, Fujichrome Velvia 50 film (click to enlarge).

The Villa today is a bit of a mixture. There are definitely 13th-Century parts remaining, but the main living area looks like a comfortable Victorian manor house, which in a sense it was because the place was bought and rebuilt in the mid-19th Century by a Scotsman called Francis Reid. A famous visitor was Richard Wagner, who was apparently inspired to base the stage set for part of his opera Parsifal on the villa. On the basis of that somewhat loose association there is an annual Wagner festival here.

Villa Rufolo
Ornate decoration inside the Villa Rufolo. Hasselblad 501 C/M camera, Zeiss Planar C 80mm lens, 6x6cm rollfilm back, Fujichrome Velvia 50 film (click to enlarge).
Villa Rufolo
Villa Rufolo, interior shot showing the gardens beyond. Hasselblad 501 C/M camera, Zeiss Planar C 80mm lens, 6x6cm rollfilm back, Fujichrome Velvia 50 film (click to enlarge).

The gardens of the Villa Rufolo are also very 19th-Century in style, with spectacular views.

Villa Rufolo gardens
Villa Rufolo, the gardens. Hasselblad 501 C/M camera, Zeiss Planar C 80mm lens, 6x6cm rollfilm back, Fujichrome Velvia 50 film (click to enlarge).
Villa Rufolo Gardens
Villa Rufolo, the gardens. Hasselblad 501 C/M camera, Zeiss Planar C 80mm lens, 6x6cm rollfilm back, Fujichrome Velvia 50 film (click to enlarge).

Villa Cimbrone

The second famous villa is Villa Cimbrone. Although notionally dating from the 11th Century, what you see today is mostly from the 20th Century – the work of another wealthy Briton, one Ernest Beckett, later Lord Grimthorp. Beckett hired a local to rebuild the place, which he apparently did by buying bits of ancient masonry from all over Italy and assembling them into a sort of pastiche of styles. The Beckett family then hosted a “who’s who” of fashionable British literary, intellectual and political types during the 1920s and 30s, including members of the Bloomsbury Group and Winston Churchill.

Villa Cimbrone
Ravello, Villa Cimbrone. Hasselblad 501 C/M camera, Zeiss Planar C 80mm lens, 6x6cm rollfilm back, Fujichrome Velvia 50 film (click to enlarge).
Villa Cimbrone
Villa Cimbrone, internal courtyard. Hasselblad 501 C/M camera, Zeiss Planar C 80mm lens, 6x6cm rollfilm back, Fujichrome Velvia 50 film (click to enlarge).

These days the place is a swanky hotel – the sort of place where the guests are transferred up from their yachts below by helicopter (not an exaggeration; one arrived while we were there). But the gardens are open to the public, and the views from the gardens, if possible, are even more breathtaking than those from Villa Rufolo.

Villa Cimbrone gardens
Villa Cimbrone, the gardens. Hasselblad 501 C/M camera, Zeiss Planar C 80mm lens, 6x6cm rollfilm back, Fujichrome Velvia 50 film (click to enlarge).
Villa CImbrone gardens
Villa Cimbrone, the gardens. Hasselblad 501 C/M camera, Zeiss Planar C 80mm lens, 6x6cm rollfilm back, Fujichrome Velvia 50 film (click to enlarge).
Villa Cimbrone gardens
Villa Cimbrone. Hasselblad 501 C/M camera, Zeiss Planar C 80mm lens, 6x6cm rollfilm back, Fujichrome Velvia 50 film (click to enlarge).
Terrazza dell'Infinito
Villa Rufolo, the views from belvedere, the so-called “Terrazza dell’Infinito”. Hasselblad 501 C/M camera, Zeiss Planar C 80mm lens, 6x6cm rollfilm back, Fujichrome Velvia 50 film (click to enlarge).
Villa Cimbrone
The view from the “Terrazzo dell’Infinito”. Hasselblad 501 C/M camera, Zeiss Planar C 80mm lens, 6x6cm rollfilm back, Fujichrome Velvia 50 film (click to enlarge).

Amalfi and the Sorrentine Peninsula

Amalfi is a little jewel of a town on a beautiful rugged coastline which was a major maritime power in the Middle Ages. In 2012 we took a trip around southern Italy; we started with Puglia and the Salentine and now I would like to talk about the Sorrentine peninsula, and in particular its southern coast, called, appropriately enough, the “Amalfi Coast”.

Amalfi Coast
The Amalfi Coast from near the town of Positano. Hasselblad 501C/M camera, Zeiss Sonnar CF 150mm lens, 6×6 rollfilm back Fujichrome Velvia 50 film, three images combined in Photoshop (click to enlarge).

The Sorrentine Peninsula – named for the town of Sorrento on its northern side – marks the southern edge of the Bay of Naples. It is very steep and rugged, and even today is crossed by few roads, so the people who live on the Amalfi Coast have always looked to the sea for transport, and for their livelihoods.

Map
The Sorrentine Peninsula (click to open in Google Maps)

History

In the most ancient period of recorded European history, this area was part of what the Romans would later call Magna Graecia (“Greater Greece”), with many Greek colonies, including of course Naples and Syracuse, and even some Etruscan outposts such as Salerno. But as far as I can tell Amalfi was not one of them, with the first reference to it being in the 4th Century as a trading post. Perhaps it existed in antiquity as a quiet fishing port, just one of many hugging the steep coastline.

But only a couple of hundred years later it had emerged as a significant middle power, a maritime state with the potential to rival Pisa, Genoa and Venice as one of the great “maritime republics”. Exactly why this should have been is hard to pin down for the historical amateur, as it does not seem to be in the most propitious location. But the end of the Western Empire brought new states and new boundaries between them, and where there are boundaries, people will trade across them. And like the lagoons of Venice, the impassable mountains of the peninsula would have protected Amalfi when armies were ravaging the mainland.

Southern Italy had not been spared the ravages of the Gothic Wars, and after the subsequent Lombard conquest most of the south found itself part of the Lombard Duchy of Benevento, with a few nominally Byzantine centres dotted around the coast, of which Amalfi was one. It then came under Lombard rule for a while, before reverting to Byzantium, at least in name.

In time that notional Byzantine suzerainty faded completely and in the 10th Century Amalfi became a duchy that was independent for practical purposes.

Amalfi Harbour
Amalfi Harbour as it is today. Horseman 45FA large format camera, Nikon Nikkor-W 150mm lens, 4×5-inch sheet film back, Fujichrome Velvia 50 film (click to enlarge).

Whatever the strategic situation may have been, Amalfi was stuck on a steep rocky coast, which did not provide much in the way of arable land for agriculture. Apparently in the 13th Century the Amalfitani did harness the fast-flowing rivers to power paper mills which created an export industry, but most of the city’s wealth would necessarily come from trading – wheat, salt, slaves and much else, with Arab Sicily and North Africa, the Levant, Sardinia and the Italian mainland. It played an important role in the development of maritime law and trading standards.

Amalfi
Amalfi from above. Horseman 45FA large format camera, Nikon Nikkor-W 150mm lens, 4×5-inch sheet film back, Fujichrome Velvia 50 film (click to enlarge).

In the 10th Century the Arab traveller Ibn Hawqal described Amalfi as “the most wealthy and opulent Lombard city”, and more important than Naples.

The Lombard duchies in northern Italy had been overthrown by the Franks in the 8th Century, which led in due course to the emergence of the Holy Roman Empire. But in the south the contest was between the Lombards and Byzantium, until the early 11th Century, when as I explained in my post on Norman Sicily, the Normans arrived. Within a very short time the Normans under Robert Guiscard had carved out their own state. Guiscard captured Amalfi in 1073, and although there were some short-lived revolts, its independence had pretty much ended. Later it became a possession of Pisa, and in the 1280s there were some hard times in the region due to the War of the Sicilian Vespers.

Amalfi’s wealth did not end immediately with its loss of independence, although it did start to decline. It continued to play an important part in Mediterranean trade, developing the box compass, and maintained its leading role in maritime law. Then in 1343 it all ended in a single day. An earthquake sent half the town into the sea, and the accompanying tsunami destroyed what was left of the port. Amalfi ceased to exist as a trading city.

The abrupt end of Amalfi had one benefit for posterity: the part of town that survived contains some very distinctive architecture that is characteristic of the period and the region. Had Amalfi’s prosperity continued, it would doubtless have been at risk of modernisation at some point in the subsequent centuries.

Amalfi
Amalfi: the campanile and facade of the duomo taken in early morning light while we were waiting for a ferry to Capri. Hasselblad 501 C/M camera, Zeiss Sonnar C 250mm lens, 6x6cm rollfilm back, Fujichrome Velvia 50 film (click to enlarge).

For centuries the coast remained a backwater, then during the period of Napoleonic rule in Naples, Joseph Bonaparte decided to commission a road from Sorrento to Salerno along the coast. It took decades to build, and was only completed shortly before Italian unification in the reign of the Bourbon King Ferdinand II in 1854. The road was only built to be wide enough to fit the royal coach, which was fine until tour buses arrived in the 20th Century. These days it is a bit hair-raising to drive along – you quickly learn to look in the convex mirrors mounted at the hairpin bends, because if you are halfway round and you meet a bus coming the other way, it is you that will be reversing. In the last couple of years the local government has imposed restrictions on car traffic – in peak season visitors can only drive on odd or even dates, depending on their licence plates.

Amalfi
The Amalfi Coast from the sea. The viaduct on the left carries the road. Hasselblad 501 C/M camera, Zeiss Planar C 80mm lens, 6x6cm rollfilm back, Fujichrome Velvia 50 film (click to enlarge).

Anyway, once the road was completed the area was opened up for visitors, and the spectacular coast became a destination in its own right. Various luminaries including Richard Wagner spent time here. Later, towns like Positano and Ravello as well as Amalfi became resorts for the wealthy.

Positano
Positano from the Amalfi-Capri ferry. Hasselblad 501 C/M camera, Zeiss Planar C 80mm lens, 6x6cm rollfilm back, Fujichrome Velvia 50 film (click to enlarge).
Punta Campanella
The Amalfi Coast from the sea – a little fort on Punta Campanella. Hasselblad 501 C/M camera, Zeiss Planar C 80mm lens, 6x6cm rollfilm back, Fujichrome Velvia 50 film (click to enlarge).

Nowadays tourism has brought wealth back to the coast, but I have read stories from as recently as the 1950s and 60s of people living here in great poverty.

Pogerola and Amalfi

We were staying in a village called Pogerola almost directly above Amalfi. We arrived having driven for several hours from Puglia in terrible weather, and my first impression of Pogerola, as I made several trips ferrying bags several hundred metres down from the car in heavy rain, was not favourable. Our accommodation was one of the smallest places in which we have ever stayed in Italy, with only a sofa bed which we needed to fold away in the morning in order to be able to move around the room. But it had a terrace with a panoramic view, and the owners were friendly and had stocked the kitchen with various local delicacies so we did at least feel welcome.

The owners also advised me where to park – it was signed as two-hour spot but I parked there for a week without adverse consequences. There is no substitute for local knowledge.

The next day was sunny and we forgave Pogerola everything from the night before. There was a remarkable view over the Tyrrhenian Sea, deep blue and dotted with pleasure craft but also cargo vessels of various sorts hurrying back and forth between Naples and Salerno.

Pogerola
Looking out over the Tyrrhenian Sea from Pogerola in the early morning light. Horseman 45FA large format camera, Rodenstock Sironar-N 180mm lens, 4×5-inch sheet film back, Fujichrome Velvia 50 film (click to enlarge).

Looking about us we saw many terraces built out from the steep hillsides, mostly covered in black nylon netting. These were where lemons were grown, and the netting was presumably because at the end of April it was still cool enough for there to have been a risk of frost. The lemon trees, and lemon-based products, are everywhere. And such lemons – sweet rather than sour, with thick edible pith.  

Pogerola
Lemon orchards in Pogerola. Horseman 45FA large format camera, Fuji Fujinon-W 210mm lens, 4×5-inch sheet film back, Fujichrome Velvia 50 film (click to enlarge).
Pogerola
Pogerola from the car park where I left the car for a week in a 2-hour parking spot. Horseman 45FA large format camera, Schneider-Kreuznach Super Angulon 90mm lens, 4×5-inch sheet film back, Fujichrome Velvia 50 film (click to enlarge).

Pogerola is quite close to Amalfi, in fact a running jump and a fall of a few hundred feet would have got me there quite quickly. And since parking was going to be very difficult in Amalfi, it seemed a good reason to go there on foot. This was an opportunity to acquaint myself with the narrow and steep paths that were the only access to the hillside villages until comparatively recently. These are still in use – at one point I passed someone delivering sacks of cement to a building site, carried by a pair of pack mules.

Pontrone and Pogerola
The villages of Pogerola (distant) and Pontrone (closer) seen from Ravello. These villages were once only accessible by mule tracks. Hasselblad 501 C/M camera, Zeiss Sonnar CF 150mm lens, 6x6cm rollfilm back, Fujichrome Velvia 50 film (click to enlarge).

Later, on my way back up the hill, I was making much slower progress. At one point I was pausing to try and catch my breath when down the hill at great speed came a sprightly octogenarian. He was about five feet tall, or at least he would have been had he not been bent over under the weight of a large basket of lemons. I tried to stop panting long enough to wish him a buona giornata, to which he responded affably but in (to me) an incomprehensible dialect. We later discovered that this old gentleman walked down from Pogerola to Amalfi every day with his basket of lemons to sell, and then, more sensibly than me, took the bus back up again.

On another day we did take the bus. The road down into Amalfi was even more narrow and winding than the main coast road, and inevitably when we were halfway down the bus met a truck coming up the other way, with no room to pass and a line of cars and scooters behind both, which made it difficult for either to reverse. In a long, complicated and frankly unbelievable manoeuvre, both drivers managed to work their vehicles back and forth and eventually, with only a few centimetres between the walls and the two vehicles, past each other. In this our driver was assisted, possibly, by a bunch of old blokes from the village who were sitting at the back of the bus and yelling out things like “Vai, vai, Luigi! Aspetta! Vai!” and enjoying themselves thoroughly.

Pastena
Amalfi from the tiny hamlet of Pastena, on the road down from Pogerola. It was near here that our bus got stuck for a while. The little campanile belongs to an 11th-Century Church. In the far distance you can make out Salerno. Horseman 45FA large format camera, Nikon Nikkor-W 150mm lens, 4×5-inch sheet film back, Fujichrome Velvia 50 film (click to enlarge).

In fact we had already realised that driving on the roads of the Sorrentine Peninsula requires a good deal of patience. At one point we had been driving up a steep and narrow road and came to a village. There was a small truck in front of us that had lots of crates on the back. On entering the village it stopped in the middle of the road, and sounded its horn. Unable to pass, we watched the greengrocer – for such it was – negotiate a shouted transaction with a lady on a balcony, who then lowered a basket with money in it, and raised the basket again with her vegetables. Fortunately we were not in a hurry, and it was more entertaining than being stuck in a traffic jam of tourist buses down on the main road.

Once the bus had dropped us down in Amalfi we split up and I slogged up a lot of steep alleys on the eastern side of the town in the hope of getting to a vantage point looking over the town with the morning light behind me. Despite my increasing fitness this was not particularly easy, as I was carrying my complete large format camera gear: body, sheet film magazines, three different backs for various film formats, six lenses and shutters on lens boards, and a tripod and head. Probably 20kg or more in total. These days my photography gear is much lighter.

Amalfi
Amalfi from above. Horseman 45FA large format camera, Fuji Fujinon-W 125mm lens, Kang Tai 6x17cm rollfilm back, Fujichrome Velvia 50 film (click to enlarge).

Eventually I found just such a lookout and took several pictures. Even working quickly, taking a single large format photograph takes a few minutes, as I explained in my post titled Crocodile Dundee Shoots Large Format. I went back down into town where we rendezvoused in a bar for coffee and a cake, and then we went to the cathedral which dates from Amalfi’s days of wealth and power. I’m not an architectural expert but it does look quite exotic, with several stylistic features which I took to be Norman-Arabic.

Amalfi Duomo
The Duomo (cathedral) in Amalfi. Hasselblad 501 C/M camera, Zeiss Planar C 80mm lens, 6x6cm rollfilm back, Fujichrome Velvia 50 film (click to enlarge).
Amalfi Duomo
The cloisters of the Duomo in Amalfi, looking rather Arabic. Horseman 45FA large format camera, Fuji Fujinon-W 125mm lens with rising front to correct perspective, 4×5-inch sheet film back, Fujichrome Velvia 50 film (click to enlarge).

After that we walked around to the next little town (Atrani) and I took a couple more large format photographs.

Atrani
The town of Atrani, with the Amalfi Coast Road running around the houses. Horseman 45FA large format camera, Fuji Fujinon-W 125mm lens, 4×5-inch sheet film back, Fujichrome Velvia 50 film (click to enlarge).

Then we decided to catch the bus back up to Pogerola for lunch. The trip back up started dramatically. There was a bit of a traffic snarl-up in the centre of Amalfi due to another bus impasse a bit further up the hill. One of the local cops was trying to sort it all out and getting a bit exasperated with all the scooter riders who were weaving between the other vehicles and around him, without taking much notice of any of his signals. Just as we were starting to get moving there was a thump and the bus stopped suddenly amid much consternation. We thought the bus might have hit one of a couple of cyclists who had been trying to get across the road, but it turned out that one of the scooter riders had misjudged his weave and hit us. A crowd of people picked him up and dusted him off and he seemed OK. As we pulled away the policeman had whipped out his notebook and was taking the rider’s details, doubtless pleased to have caught one of them at last.

Amalfi
Amalfi; houses clinging to the cliff face. Hasselblad 501 C/M camera, Zeiss Sonnar C 250mm lens, 6x6cm rollfilm back, Fujichrome Velvia 50 film (click to enlarge).

Street Life in Naples

Here is a short photographic essay on street photography in Naples, with thoughts on the genre as a whole.

I feel a bit diffident about taking candid photographs of strangers – I talked about this before in my post on Street Photography. There are a few ways around this – apart from sticking exclusively to landscapes, of course.

One is to include people as anonymous distant or abstract objects in a composition.

Piazza del Plebiscito
Naples, Piazza del Plebiscito. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens, two images stitched in Affinity Photo software (click to enlarge).

Another is to choose occasions when implied consent may reasonably be assumed – such as street performers or people taking part in historical pageants. People doing both are even better, although it seems only fair to toss a euro in the hat if you take their photographs.

If in doubt you can always ask – pointing at the camera and raising your eyebrows will get the point across fairly well. People in professional environments – shopkeepers or craftsmen – often respond positively.

And it is really hard to define, but there are certain places when you just feel that people are less self-conscious, more exuberant and outgoing, and less likely to be bothered by the presence of a camera. Such a place is Naples.

Montesanto
Naples, Montesanto Market. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).
Naples Lungomare
Naples Lungomare. Fujifilm GF32-64mm R LM WR lens (click to enlarge).
Naples Lungomare
Naples Lungomare. Fujifilm GF32-64mm R LM WR lens (click to enlarge).
Piazza Giulio Rodinò
Naples, Piazza Giulio Rodinò. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).
Via Chiaia
Naples: Via Chiaia. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).

These things are admittedly subjective and I am quite likely to be projecting my own responses to the city onto others, but both times we have visited Naples I have taken a great many pictures of people and I’ve never felt that my doing so was unwelcome.

Spaccanapoli
Naples, Spaccanapoli. Hasselblad 501C/M camera, Zeiss Distagon C 50mm lens, 6x6cm film back, Fujifilm Velvia 50 film (click to enlarge).
Naples, Via Chiaia. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).

A lot of the time, the attraction of photographing people just going about their daily lives is that it helps you capture a sense of what it is like living there. Of course there is plenty of scope for being selective – if you just chose happy people, you could make a city seem like a wonderful place to live, and if you just chose down-and-outs, it could seem horrible. You see this sort of tendentious selection quite a lot in journalism. I’m not saying that it is necessarily dishonest, but if you are illustrating a story that is making a particular point, then obviously your choice of illustrations will be consistent with that.

But I am not a journalist, and I don’t really have any agenda. So for me the point is to try and illustrate the impression a place makes on me, as honestly as possible. Yes, that means I am going to be selective, but with the the best of motives. So for Naples I try and take pictures of happy people, because that how Naples makes me feel. Then again, people in Naples really do look happier.

Naples Lungomare.
Naples Lungomare. Fujifilm GFX 50R camera, Fujifilm GF100-200mm R LM OIS WR lens (click to enlarge).
Naples Lungomare
Naples Lungomare. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).
Castel dell'Ovo
Naples, Castel dell’Ovo. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).
Naples Lungomare
Naples Lungomare. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).

Some of the best street photographs, for me, are those that seem to tell a story. In the picture below, is the girl on the shore dreaming that one day it will be her turn to be drinking champagne on a superyacht?

Naples Lungomare
Naples Lungomare. Fujifilm GFX 50R camera, Fujifilm GFX 50R camera, Fujifilm GF100-200mm R LM OIS WR lens (click to enlarge).

And in some cases the attraction of the photograph is just the sheer oddness of it – what on earth is going on here?

Three bears
Naples: Goldilocks hung the three bears out to dry. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).

Procida

In August 2022 we visited Naples, and took a day trip to the almost absurdly beautiful island of Procida. I took a couple of hundred photographs – here are a few of them.

Procida is one of the islands in the Bay of Naples, of which the largest is Ischia and the most famous is Capri.

Map of the Bay of Naples
The Bay of Naples (source: Google)

A Brief History

Like pretty much every other geographical feature around Naples, Procida is the product of volcanic activity. Apparently it is made up of four volcanoes, all now dormant. Human settlement on the island is very ancient, with some Mycenaean Greek artefacts (ie from around 1500 BC) having been found there, and Hellenic Greek settlements from the period of colonisation a few hundred years later. The Greeks of Magna Graecia were famously bellicose and the steep-sided hill at the eastern end of the island would have made an attractive defensive position.

The ancient Romans, like us, could afford to think about enjoying themselves rather than worrying about being invaded. And so just like us they had a good eye for real estate locations, and in classical times Procida was a popular place for wealthy people to build luxurious villas.

Good defences became important again in the Middle Ages, with Saracen raids, then a succession of wars as various dynasties fought over Naples. At some point the natural defences were augmented by artificial ones, and the area within those walls became known as the Terra Murata (“walled land”). The current structure on the site dates from the early 16th Century and is known as the Castle (or Palace) of d’Avalos, after the Spanish cardinal who had it built. In Bourbon times it became a prison, and continued to be used as such until the 1980s, housing a few notorious mafiosi.

Procida Terra Murata
The “Terra Murata”and Port of Procida from the ferry. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).

Procida Now

These days Procida is a bustling place, especially around the port, but was hardly overrun when we visited in late August. This may partly be because non-residents may not bring cars to the island for most of the year, but I believe that it is also Procida’s good fortune that a majority of tourists opt to stay on the ferry and keep going to Ischia. And it was only the first post-COVID tourist season.

Map of Procida
Satellite view of Procida (source: Google)

The main town of Procida covers the eastern end of the island, and the distinguishing feature of the place is that the houses are rendered in plaster and then painted in pastel colours. The streets around the port are lined with tall narrow houses which give the impression of being densely-populated, but behind the houses there are many open spaces with what appear to be fruit and vegetable gardens.

Not surprisingly Procida has been used as a location for quite a few films including The Talented Mr Ripley, but to Italians and italophiles the most famous is Il Postino (“The Postman”).

Getting There

There are ferry and hydrofoil services to Procida and Ischia from a couple of locations. We were staying in downtown Naples, so decided to catch a ferry from the main terminal. I tried to google information on tickets and schedules, but as is the way with Google these days, I just got pages of sponsored advertisements, so we decided just to turn up to the terminal. Taxis are cheap and plentiful in Naples, and the best way to get around, so we caught one.

Naples-Procida Ferry
The Ferry from Naples to Procida and Ischia. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).

Once at the terminal we established that there was a ferry departing shortly, and that the queue to buy tickets was short and moving quickly. It also appeared that even if we had managed to book online, we would still have had to queue to get a paper ticket. A couple ahead of us when boarding the ferry found this out the hard way as despite having evidence of the purchase on their phones, they were sent back to the ticket office to get a proper paper ticket. Italy still doesn’t entirely “get” the internet.

We caught the ferry there and the hydrofoil back. The hydrofoil is not all that much more expensive than the ferry, but takes about half the time. However one has to sit downstairs with very little outside visibility, while on the ferry you can wander around on deck. So we would definitely recommend taking the ferry in at least one direction, for the views.

Naples from the Ferry to Procida
Naples from the ferry. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).

Of views, there are many – Naples as you leave, then along the northern edge of the Bay of Naples. Our fellow passengers seemed to be mainly locals – either Neapolitans out for a day trip or Procidans and Ischians returning from a shopping trip. There were a few foreign tourists, but perhaps not as many as there would have been before the pandemic.

On Procida

We got off the ferry in the port of Procida which is on the northern side of the island. There are plenty of mini-taxis and bike rentals which can help you get further afield, but we chose to stay on foot and climb up to the Terra Murata, then descend to the little fishing port of Corricella on the southern side, now a marina.

Procida taxi
“Micro-taxi”on Procida. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).

The main road up the hill towards the Terra Murata is called “Via Principe Umberto” after the son of King Vittorio Emmanuele. After the 1946 referendum which abolished the monarchy, parts of central and northern Italy renamed at least some of the streets and piazzas which had commemorated members of the House of Savoy. That this happened less in the south reminds us that in these parts the vote was actually in favour of retaining the monarchy. I can’t imagine that this was out of great affection – the Piemontese royal house was alien to the South and had ruled united Italy for less than a century. I have not seen this discussed much in Italy, but I would speculate that it was more from deep conservatism and scepticism that the Republic would actually improve conditions in the south. Did it? Who can say?

Via Principe Umberto
Procida: Laundry on Via Principe Umberto. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).
Via Principe Umberto
Procida: Via Principe Umberto. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).

The view down towards Corricella from just outside the fortress is well worth the climb, and features in many a calendar and postcard.

Corricella
Procida: Corricella. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).

Once down at sea level again, there is a very pleasant walk along the waterfront of Corricella, where the only challenge is choosing a seafood restaurant in which you might have lunch.

Corricella
Procida: Corricella. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).
Corricella
Procida: Corricella. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).
Corricella
Procida: Corricella. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).
Corricella
Procida: Corricella. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).
Corricella
Procida: Corricella. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).
Corricella
Procida: Corricella. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).
Corricella
Procida: Corricella. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).
Corricella
Procida: Corricella. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).
Corricella
Procida: Corricella, with the Terra Murata in the distance. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).
Corricella
Procida: Corricella. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).

After gorging on the photographic opportunities in Corricella, the way back is via a steep narrow road called the Discesa Graziella, which continues to offer lots of good photographs.

Discesa Graziella
Procida: Discesa Graziella. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).
Discesa Graziella
Procida: Discesa Graziella. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).
Discesa Graziella
Procida: Discesa Graziella. House featuring a shrine to the Virgin and a
statue of a poodle. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).
Discesa Graziella
Procida: Discesa Graziella. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).

The Cloister of Santa Chiara in Naples

Right in the chaotic centre of Naples there is a beautiful and peaceful convent garden – the Cloister of Santa Chiara.

In August 2022 we fulfilled a long-delayed ambition to return to Naples. Our first visit over ten years earlier was only a short day trip by train from Sorrento, so this time we wanted to do it properly. That meant staying in downtown Naples for a few nights. Which meant driving into central Naples – in terms of risk something akin to skydiving in many people’s view, including that of northern Italians.

The traffic on a Naples city street, if it is wide enough, resembles a sort of slow-motion version of F1 cars weaving about for advantage as they leave the starting grid. There was a fair bit of hooting and gesticulation but I just kept going and we reached our destination without incident. The receptionist at the hotel said something to the effect that in Naples traffic, “they all do what they want and you let it happen around you”. That was good advice. In any case taxis are cheap in Naples and we were able to leave the car in the hotel garage until it was time to go home.

There are many stereotypes about Naples in addition to the traffic, and most are in some degree true. It is louder there, and more chaotic. The colours are brighter. The architecture – from later eras – is exuberant. There’s a big volcano across the bay. People genuinely seem more cheerful and demonstrative than they are further north – we noticed this in a few different situations. It is undeniably dirty, with the corruption in local government evident in rubbish collection contracts let to criminal groups that just dump stuff in random locations, or don’t bother collecting it at all. And as I said, the traffic is a bit crazy, although in our experience it is scarier in Palermo.

We read somewhere that if visitors to Italy find Rome dirty and disorganised, they should not go to Naples, because they will find those things worse there. If on the other hand they enjoy the energy and spectacle of Rome then they should keep going south because they will love Naples. We are in that latter category.

We were there in late August, and along the Lungomare and in the water the locals were soaking up the late summer sun.

Naples Castel dell'Ovo
Naples, Castel dell’Ovo. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).
Naples Lungomare
Naples Lungomare with Vesuvius in the background. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge)
Naples Lungomare
Naples Lungomare with Vesuvius in the background. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge)

We took a most enjoyable day trip to the island of Procida – although that is not the subject of today’s post. I will also do a separate post one day celebrating street life in Naples. But now I will get to the point of this one.

Santa Chiara

One morning we woke to steady rain – welcome in a way after a particularly long, hot, dry summer, but not the best for sightseeing. Nonetheless we stuck to the plan, and after a breakfast of coffee and pastries at a bar we caught a taxi to our destination: the church, convent and cloisters of Santa Chiara, bang in the middle of the old city. As we zoomed up and down hills, ducked through narrow alleys, and negotiated one hairpin bend so tight that our little Fiat taxi had to do a three-point turn to get round, Lou observed that if there is a Naples equivalent of “The Knowledge” that London taxi drivers need to demonstrate, it would be challenging indeed. Needless to say the driver dropped us right at the front gate of our destination, and charged us very little.

In the photograph of central Naples below, taken from Castel Sant’Elmo, the church of Santa Chiara is the large green-roofed building on the right.

Naples
Central Naples. Fujifilm GFX 50R camera, Fujifilm GF100-200mm R LM OIS WR lens (click to enlarge).

Santa Chiara is described on the maps as a “monumental complex” and since it includes a church, a convent, an archaeological site and a museum, that describes it fairly well.

Like many convents, there is a square cloister, decorated with religious frescoes, surrounding a central open area.

Chiostro di Santa Chiara
Cloister of Santa Chiara. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).

The large Gothic church, commenced in 1313, dominated the view of Naples for centuries. At the time Naples was ruled by the French Angevins, who had succeeded the Hohenstaufens of Frederick II. The picture below, painted 150 years later by which time the ruling dynasty was Aragonese, shows just how it dominated.

Aragonese fleet
Detail from “The Aragonese Fleet returns to Naples after the Battle of Ischia, 6 July 1465” (public domain)

Meanwhile, back in the 1300s, the Angevin King Robert and his wife Sancha of Majorca were extremely devout followers of the Franciscans, the movement started by St Francis only about a hundred years earlier. The female version of the Franciscan order was started by St Clare (Santa Chiara) and in Italy they are called Clarissans after her. In England they were called the “Poor Clares” due to their vow of poverty. Queen Sancha took a particular interest in the Clarissans, joining the order after her husband’s death, so it is not surprising that the church and convent she and Robert established was dedicated to Santa Chiara.

Death of Santa CHiara
Death of Santa Chiara, fresco from the cloisters. Not sure what role the little devils at the foot of the bed are playing. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).

Fast forward to the 18th Century and another queen of Naples (by now it was ruled by the Spanish branch of the Bourbons) started taking an interest. The central area of the convent, surrounded by cloisters, was being used by the nuns as a vegetable garden. The queen, Maria Amalia of Saxony, thought it would be a good idea to smarten it up and decorate it with scenes which allowed the nuns to contemplate the life outside which they had renounced. She therefore commissioned an architect to convert the space into a formal garden crossed at right angles by two arcades of benches and columns, all decorated with maiolica tiles. I don’t know what the nuns thought of the idea but the result would certainly have been a very pleasant place for them to sit.

Chiostro di Santa Chiara
Cloister of Santa Chiara. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).

Catastrophe arrived in August 1943 when a raid by American B-17 Flying Fortresses started a fire which destroyed the inside of the church and its roof, although the adjacent cloister seems to have mostly survived.

Santa Chiara
Photographs from the historical gallery of the Campania Fire Brigade, showing the church of Santa Chiara immediately after the bombardment, and seventy years later. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).

While many types of stone can survive a fierce fire, marble often doesn’t, and the photo below shows the remains of a marble frieze from the church, now displayed in the museum above a pre-war photograph of the original. Looking carefully at the remains of the original, it seems that there was an attempt to repair the frieze before they gave up.

Santa Chiara
Remains of a marble frieze (above) and pre-war photograph of the original (below). Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).

However soon after the end of the war, and despite all their other problems, the Neapolitans set about rebuilding their beloved church, completing the job in 1953. To modern eyes there is some small compensation for this. The interior had been redecorated in the 17th Century with some of the worst excesses of the baroque period, and without significant architectural merit. Pre-war illustrations of the interior show something like a wedding cake as imagined by Walt Disney. On acid.

Santa CHiara
Santa Chiara before the bombardment (public domain).


The architects responsible for reconstruction took the courageous decision to revert the church to its original austere Gothic nobility. One gets the impression that this was a bit controversial; not surprisingly many Neapolitans would have been wanting their old church back exactly as it was. But the Gothic restoration would certainly have been closer to Robert and Sancha’s Franciscan vision, and if it is over-the-top baroque that you want, you need only go to the church of Gesù Nuovo just down the road, which escaped damage in the air raids.

Santa Chiara
Interior of the Church of Santa Chiara. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).
Santa Chiara
Interior of the Church of Santa Chiara. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).

The Cloister

It was still raining quite hard when we got to the cloister, which was disappointing in a way, but it did at least mean that we could take pictures of the arcades without people in them.

Santa Chiara
Cloisters of Santa Chiara in the rain. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).

And then later the sun started to come out again so we got the best of both worlds.

Santa Chiara
Cloisters of Santa Chiara after the rain. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).

The maiolica pictures on the backs of the benches are charming. There are a few with mythological or literary themes, but most show an idealised version of real life – country scenes with peasants dancing, people working in the fields or unloading ships.

Santa Chiara
Mythical scene from the cloister of Santa Chiara. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).
Santa Chiara
Maiolica bench, cloister of Santa Chiara. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).

Several of the characters wear carnival-style masks and are doubtless supposed to be specific characters such as Pulcinella from the Commedia dell’Arte, especially in the scenes of rustic celebration. As I said, I don’t know how the nuns felt about it, but to me it does seem a bit mean to suggest that the life they had forsworn was one of continuous revelry.

Santa Chiara
Bucolic scene, cloister of Santa Chiara. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).
Santa Chiara
Bucolic scene, cloister of Santa Chiara. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).
Santa Chiara
Bucolic scene, cloister of Santa Chiara. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).

Unlike the frescoes in the surrounding cloister, the pictures that line the arcades are not religious at all, unless you count one of Santa Chiara herself, feeding cats. A lady we know in Umbria likes to feed the stray cats round about so in the museum shop we bought a bookmark showing Santa Chiara feeding the cats and presented it to her on our return. We were a bit nervous that she might think it frivolous, but she roared with laughter.

Santa Chiara
Santa Chiara feeding the cats. Fujifilm GFX 50R camera, Fujifilm GF32-64mm R LM WR lens (click to enlarge).

There was a restaurant near Santa Chiara, part of the Slow Food Movement, that we had selected for lunch, but Google was a bit optimistic about its opening time so we found we had an hour to kill. We therefore headed to a nearby bar for a pre-lunch aperitivo. That proved to be a rather Neapolitan experience. The Bar Settebello was small, full of cheerful people, and very noisy. But while in most Italian bars the noise would be coming from a TV playing pop videos or a football match, here the TV was tuned to RAI 5 (a bit like Channel 4 in the UK, alas no equivalent in Australia) and it was pumping out a performance of Rossini’s opera La Gazza Ladra (The Thieving Magpie).

Bar Settebelli
Bar Settebello, Naples (phone camera).

Update: I have now posted the promised articles on Procida and street life in Naples.