A Wall in Naples

A WALL IN NAPLES Charting walls, gateways and interfaces of ritual gestures and transactions

A WALL IN NAPLES Charting walls, gateways and interfaces of ritual gestures and transactions

City Fragments: NEAPOLITAN porosities

Design report

University of Edinburgh Master of Architecture Part II May 2020

Jonathan Buitendag Callum von Domarus Peter Wheatcroft

SYNOPSIS

Naples, once the capital of the maritime Kingdom of Two Sicilies and now a major port city in the Mediterranean, is today a place of chaotic contrasts.

Poor urban planning and reconstruction after World War II, recent technological advances - industrialisation and inconsistent investment have transformed how the city and its economy are structured. Large sections of the historic city walls were demolished to make way for a highway connecting the port to new industrial suburbs, replacing a protective porous interface for people and goods with a physical barrier between the city and the sea. Taking Thomas Jones’ painting A Wall in Naples of 1782 as a material and formal record of pre-unification Naples, A Wall in Naples develops new market typologies from those of the old city, still evident in the ruins of the Roman agora beneath the Monastery of San Lorenzo, in the fish markets of Porta Nolana, and as documented in Domenico Gargiulo’s painting Piazza Del Mercato (1648-52), which depicts a scene in the marketplace during the Revolt of Masaniello in 1647.

In these historic markets, products from distant lands were unloaded, stored, prepared, exchanged and sold.

A series of new interfaces bridge two urban conditions: the street markets of the historic city and the industrial and commercial zones of the post-war port. Echoing the route from the ancient agora to the waterfront, and the social urgency of Gargiulo’s painting, A Wall in Naples proposes a market boulevard from Porta Nolana to the port, a new ‘gate’ in the (ghost) city wall, and a series of hinges forming social, economic and material gateways through which wine, fish, cheese and fireworks are made present in the city.

Contents

1. Navigating A City of Walls Walls and Porta/os (Gateways and Portolan Charts)

2. Trading A Mercantile Wall Walls as Interfaces [of Gesture, Rituals and Transactions]

3. Charting A Wall of Naples (charting) A Wall of Portas (scaling, hinging and anchoring)

4. gateways

Porta Del Vino Porta Pescare porta Pyrotechnica

A wall in naples |Section 0 | preparation

Glossary of terms Anchor [noun] - a heavy object attached to a cable or chain and used to moor a ship to the sea bottom, typically having a metal shank with a pair of curved, barbed flukes at one end.

- someone or something that gives support when needed.

Bollard [noun] a short, thick post on the deck of a ship or a quayside, to which a ship’s rope may be secured.

Compass Rose [noun] a figure on a compass, map, nautical chart, or monument used to display the orientation of the cardinal directions (north, east, south, and west) and their intermediate points. It is also the term for the graduated markings found on the traditional magnetic compass.

Macellum [noun] an ancient Roman indoor market building that sold mostly provisions (especially fruits and vegetables). The building normally sat alongside the forum and basilica, providing a place in which a market could be held.

Guild [noun] - a medieval association of craftsmen or merchants, often having considerable power.

- an association of people for mutual aid or the pursuit of a common goal.

Hinge [noun] - a movable joint or mechanism on which a door, gate, or lid swings as it opens and closes or which connects linked objects.

- a central or pivotal point or principle on which everything depends.

Interface [noun] a point where two systems, subjects, organizations, etc. meet and interact.

Merchant [noun] a person or company involved in wholesale trade, especially one dealing with foreign countries or supplying goods to a particular trade.

Market [noun] a regular gathering of people for the purchase and sale of provisions, livestock, and other commodities.

Mediterranean Lingua Franca [noun] The Mediterranean Lingua Franca or Sabir was a pidgin language used as a lingua franca in the Mediterranean Basin from the 11th to the 19th centuries as the main language of commerce.

Portolan Chart [noun] ancient nautical charts, first made in the 13th century in the Mediterranean basin and later expanded to include other regions, which have been noted for their high cartographic accuracy. The word portolan comes from the Italian portulano, meaning “related to ports or harbours”, and which since at least the 17th century designates “a collection of sailing directions”.

Pyrotechnics [noun] Pyrotechnics is the science and craft of using self-contained and self-sustained exothermic chemical reactions to make heat, light, gas, smoke and/or sound. The name comes from the Greek words pyr and tekhnikos.

Rhumbline Network [noun] a navigational aid drawn on portolan charts. This network is like a web forming a grid on the map.

Rigging [noun] the system of ropes or chains employed to support a ship’s masts (standing rigging) and to control or set the yards and sails (running rigging)

Ritual [noun] - a religious or solemn ceremony consisting of a series of actions performed according to a prescribed order.

- a series of actions or type of behaviour regularly and invariably followed by someone.

Scale [noun] an instrument for weighing, originally a simple balance (a pair of scales) but now usually a device with an electronic or other internal weighing mechanism. the relative size or extent of something.

Transaction

1|2

[noun] - an exchange or interaction between people.

- the action of conducting business.

A wall in naples |Section 0 | preparation

Prologue

Naples established its importance in the Mediterranean as one of the most important commercial trading centers. Founded by Greek Settlers in the 7th century ‘Neapolis (the “the New City”) was established in a highly productive and fertile landscape, a region in southern Italy known as Magna Graecia. Combined with the geography of the landscape, access to a sheltered bay and even defensive walls that managed to protect the city against Hannibal during the second Punic war of 218 – 201 BC, the city was able to expand its trade, wealth and political status.

In 1282 , following the split of Naples’s political control under Sicily, Naples became the capital of its own kingdom, containing territory that included most of Southern Italy, attracting Pisan and Genoese merchants, Tuscan bankers, and with them some of the most renowned Renaissance scholars and artists of the time. Industrialization occurred and further enhanced the economic an trading status of the city. Following the congress of Vienna in 1815, the political sphere of influence of Naples grew to encompass the island of Sicily, allowing for further technological and industrial expansion to occur, with the establishment of the first railway in 1839.

Economic and political importance faded following the unification of Italy in 1864 as the cities resources were needed to help establish the industrialisation of Northern Italy. However, city’s legacy left an array of street market and mercantile traditions, with fragments of its defensive walls still populating the cities dense urban landscape.

3|4

A wall in naples |Section 0 | preparation

A wall in Naples Thomas Jones (1782)

‘A wall in Naples, a postcard size painting by Thomas Jones composes a raw brick wall with patches of old plaster and water stains clinging to crumbled stone.

The windows are shuttered against the Mediterranean light, and washing hangs like flimsy entrails, the layers of materiality that envelope the structure. Its simplicity in subject limits the view to a specific wall, with no people in sight. With no sight of land, no ground level, no base or stage to the scene, the world just drops away out of the bottom of the picture, losing all sense of place. The painting visualises the threshold a wall performs in any given situation within the city.’

5|6

NAvigating [verb] To plan and direct.

To guide and steer.

Navigating A City of Walls Walls and Porta/os

A wall in naples |Section 1 | Navigating

A city of walls Navigating

A city of Barriers and walls Naples is city of layered barriers and walls. Over the centuries, the city has saw the change and expansion of its wall network that has ordered and protected the urban centre.

The Greek and roman walls Fragments of the city walls have been excavated such as the wall fragment at Piazza bellini. The rest has been constructed over or in some cases been demolished from natural disasters such as mudslides. Or the structures were torn down to make use of their building materials.

The Medieval walls The history of the medieval walls lasted from the Angevin period of the 14th century and continued into the Spanish and Bourbon administrations. The wall network grew to cover the coastline and protect the occupants of the ever growing city. Notable structure such as the Porto Nolana and Porto Capuana were constructed during this time period.

Fortresses and structures were integrated into the wall line such as the Castello del Carmine. Built during the rule of Charles III of Durazzo in 1380. The Bastion included quarters of military forces but also the cathedral of Carmine.

9|10

A wall in naples |Section 1 | Navigating

Porto Nolana a

olan

Via N

Via Toledo

Castel del Carmine

Certosa e Museo di San Martino

Castel Nuovo

Heavy wall These are graphene wall etchings that were taken from around the city. A side experiment as part of our wider investigation.

11|12

A wall in naples |Section 1 | Navigating

A city of walls Navigating

City of walls by the harbour front In addition to the fortifications that protected NAPLES From land invasion, the thesis explores the walls along the coast line and how they have affected the cities’ urban form.

A depiction of the port of Naples on 6 October 1759, when Charles of Bourbon (1716-1788) left for Spain.

This painting depicts the moment when the Spanish fleet commanded by the Marquis of La Victoria leaves the port of Naples after having taken aboard the new monarch, Charles III, and his family. Accompanied by a considerable retinue, they were bound for Barcelona to begin their Spanish reign. The work bears the following inscription: His Catholic Majesty Embarking on the 6th day of October 1759 in Naples.

c - departure of charles of bourbon for spain, seen from harbour antonio joli, 1759

13|14

b - departure of charles of bourbon for spain, seen from harbour antonio joli, 1759

A wall in naples |Section 1 | Navigating

History of the Harbour Front The foundations of the port were laid down during the period of Greek Colonization. Greek sailors from Rhodes settled in this part of the coast, establishing the colony on the Acropolis of Pizzofalcone. In 474 B.C. the inhabitant of Cuma founded Neapolis (new city) in the eastern part of Naples. The port functioned originally as a military port during the Greek and Roman port but gradually became more open to merchant traffic as the cities political and economic status grew.

The Port enjoyed a period of splender under the governance of the Normans. The harbor would receive further expansion the second half of the 13th century and in particular during the reign of Charles I of Anjou, as the city became one of the most heavily populated urban centers in Europe. New warehouses, Storage depots and fortifications along the port were established.

The Tavola Strozzi, 1473

15|16

Anonymous, View of Naples.

A wall in naples |Section 1 | Navigating

It wasn’t until the Bourbon Dynasty of the 18th Century that the port became established as one of the most well equipped maritime facilities in the Mediterranean, with the arsenals being converted into enormous ships yards. However after the reunification of Italy of 1867 the maritime traffic diminished as the location of other port cities became more favorable trading points due to the changing economic and political world.

Under Fascist dictatorship of Italy, Naples became the primary gate way to the Italian colonies in Africa, with new facilities and concrete wharfs being constructed.

Ultimately after the second World war, the port became the setting for a mass exodus of thousands of Italians who left Naples in search of fortune in the united States.

Shipyard area and cruise lineer traffic

Passenger area

Ship Building industry

Commerical zones

Container zones

Military Naval Naval area

Layout of the Port

17|18

Via Marina and the Port, 1865

A wall in naples |Section 1 | Navigating

walls and porta/os Navigating Harbour as Gateway Gateway Territory Portolan Charts

19|20

a Wall in Naples

A wall in naples |Section 1 | Navigating

A city of walls gateways

City Gateways There are urban ‘breaches along the modern harbour water front, urban corridors where the old city opens up to the harbour. This is a potential urban condition to implement the thesis.

Interfacing with the Ghost wall The core strategy for the ‘wall of Naples’ is to regenerate the strip running between the harbour front by the Castello Del Carmine to the fish market at the Porto Nolana Historical Gate. Taking the concept of ‘Interfacing’ with the historical wall that ran along the eastern flank of the city, the project will propose three mercantile hubs whose architecture reinterprets the ‘ghost’ wall for the purpose of improving the flow of people and goods throughout Naples. These new hubs become new gate ways between the historic city and the outside.

Historic city

di

bal

p

sep

Via

r ate ur W

Nuo

Hist va

oric

Ma

rin

iu oG

ari eG

s

wal l

Cor

line

a

nt

Fro

bo

Industrial Port

Highway disconnects water from historic city

21|22

Har

A wall in naples |Section 1 | Navigating

Territory drawing – identifying gateways in the modern urban barriers of Naples The Post war development and the construction of the waterfront highway has created a harsh industrialised landscape that has severed away the city’s primary asset, its connection to the sea. Taking inspiration from the painting, Departure of Charles Bourbon for Spain, illustrating the vibrant activity of the harbour front of Naples, this drawing seeks to illustrate strategies to reanimate the vibrant life from Naples’s cherished maritime past. The drawing showcases the remnant territories, that still bridge the connection between the metropolitan centre and the harbourside. Furthermore, the drawing highlights the historic city wall that ran along the coastline, identifying, these remnant territories as potential gateway sites.

23|24

A wall in naples |Section 1 | Navigating

Navigation and linking the markets and sites together Portolan charts are ancient nautical charts originated in the Mediterannean basin around the 13th century. The word portolan comes from the Italian portulano, meaning “related to ports or harbours”, and which since at least the 17th century designates “a collection of sailing directions.”

Maps that cover maritime regions, focusing on coastlines and coastal cities.

Acting gateways between regions and goods. Characterised with rhumbline networks which emanate out from compass roses located at various points on a map.

25|26

A wall in naples |Section 1 | Navigating

Neapolitan harbour at dusk, photo taken from the Certosa e Museo di San Martino

27|28

Trading [verb] To buy and sell.

To exchange

Trading A mercantile wall

29|30

walls interfaces

A wall in naples | Section 2 | Trading

piazza del mercato Domenico Gargiulo (1648-52)

Peter Robb, in his book Street Fight in Naples, calls the picture ‘The Market Place in Naples’ by Gargiulo ‘an image of the choral theatre of Neapolitan life, and like the best Neapolitan art it filled an essentially static scene with a winning dynamism’. Look closely, he writes, and you can see the outline of Vesuvius, picked out in the clear air, thieves, bare-legged barefoot children brawling, monks, mares, beggars, sellers, buyers, animals, the drunk, prostitutes, horses, coaches, the police, and the unconscious.

This is a snapshot of everyday life at that time, and it is possible to hear the intensities of the market day and smell the stench that radiates from this environment.

31|32

A wall in naples | Section 2 | Trading

A Mercantile city

A history of markets In 1304 during Advent, The Dominican Friar, Giordano Del Pisa, gave a series of sermons to the masses in the Italian City of Florence where he compared Mary to a merchant who exchanged bad goods for better one. He proclaimed “Mary gave up earthly delights in order to have eternal ones and profited from everything”, adding “This stall of the world is like a fair for which the Lord God has established the time and the profit”. (reference?)

The subject of first Sermon was about charity where he compared merchandise to that which Christ has for sale, telling his listeners “Therefore, Christ Jesus says, come to me if you want this merchandise since there is no other person who sells it in his Bottega (Shop).”

“It is the gracious body of Christ on the cross which, out of love for you, blood pours forth to wash away your sins…… The sign of this shop is the cross… at the cross love is for sale.”

These passages from biblical stories show how ritual practices of the time influenced everyday life and shaped the formation of trade and commerce in the middle ages, the forerunner to practices of today’s economic world.

33|34

A wall in naples | Section 2 | Trading

San lorenzo monastery

Roman Agora

Subterranean world of the original Roman Agora

PRODUCED BY AN AUTODESK STUDENT VERSION

Civic symbols

In Italy, the feeling of campanilismo (the City State, localism, parochialism) found architectural expression in two buildings on which cities lavished their wealth and attention: The Duomo (Cathedral) and the communal palace or town hall. A third urban feature that testified a city’s power and reach was the market place.

These stood as the symbols of the trinity of actors – the Church (Duomo or cathedral), the state (the communal palace) and economy (the marketplace) - that defined the essence of urban life in cities.

35|36

Monostery of San Larenzo

A wall in naples | Section 2 | Trading

Rom a n A g o r a

Co n n ect i o n t o t h e h ar o b ur f r o n t

Historical mercantile route The ruins of the ancient market now lie beneath the foundations of the existing San Lorenzo Monastery. This structure functioned as a space for the storage, preparation and sale of products and items. The structure contained Chambers for showcase and advertisement of products, as well as a repository for gold reserves that were generated from the commercial activity. The Roman Agora served as a commercial hub from which urban life orientated around.

37|38

The remnants of the Agora

A wall in naples | Section 2 | Trading

The infrastructure of markets and the way that they were arranged in urban areas were developed to ensure that mercantile practices were fair between other merchants and their customers. Shop stands faced one another along opposite sides of a thoroughfare. Such arrangements served to reduce tensions between different guilds, especially those selling similar products.

39|40

Market Infrastructure: Streets, Shops and stalls

A wall in naples | Section 2 | Trading

Infrastructure of Markets Prices could be seen and compared by other merchants and buyers, preventing monopolies of price fixation to favor one particular merchant, keeping all sellers competitive. For example, various guilds established rules and guidelines that established uniform dimensions for shops and counters.

41|42

For example, the communal statutes dating back from the 1280s stated that all counters from which fish and crabs were sold in the communal market had to be precisely the same length and height – 212 cm. In addition, rules were established to prevent shops from extending their stalls further than a foot from the colonnade were most markets were set up.

A wall in naples | Section 2 | Trading

Market stands Given the importance of location, the assignment of stalls in most cities were designated by guilds. Once established, each guild held its own lottery to assign individual stations for the stalls. For individual vendors, the particular location of their shops or stalls was a matter of singular importance since certain sports where more advantages than others.

43|44

A wall in naples | Section 2 | Trading

Plan of Porto Nolana

45|46

Plan of Via Vergini

A wall in naples | Section 2 | Trading

Animating the market street Early experimentation through animating Transactional movement. An initial survey was conducted of the Porta Nolana market district before visiting the city. With the data gathered, an animation was drawn to depict the activity of the market within a single day. It symbolises a pumping motion throughout this particular location as the population gravitates towards the nucleus that is the market square, to then eventually disperse back to their origins.

47|48

A wall in naples | Section 2 | Trading

Wall stretch Via Nuova Marina

The site under investigation is the eastern flank of the city wall, an area stretching from the port to the city fish market of Porto Nolana.

M a rket sec tio n 0 3 c a stello del c a rm ine

2.

3.

1 . p ia z z a d e l m e rc a t o 2 . C a s t e lo d e l C a r m in e 3 . C a r a b in ie r i C o m a n d o St a z io n e N ap o li B o r g o L o re t o ( N a p le s m a r it im e t r a in in g c o lle g e )

histo ric wa ll rem na nts

g ho st wa ll

4 . Po r t o N o la n a 5 . N a p o li Po r t a N o la n a

Ma r k e t s e ct i on 01 Por t o N ola n a

Mark e t s e c t io n 0 2 Fi sh m ar k e t

Via Nolan

a

1.

Via Sopramuro

Via Cesare Carmignano 4.

Corso Giuseppe Garibaldi

49|50

5.

Via Sopramuro

Corso Giuseppe Garibaldi 3.

2.

1.

Section AA

a

a

lla Farin

Gabella d e

a Nolana

Via Nolan

Vicoletto

Vico Pergola

ia

Vico Vetriera Vecch

A wall in naples | Section 2 | Trading

market view 2

market view 3

51|52

Market view 1

A wall in naples | Section 2 | Trading

Porto Nolana History Gate House Porto Nolana is one of the few remaining medieval city gates of Naples. It was constructed during the 15th Century as part of the growing wall network. The bastion has two flanking towers known as the Torre della Fede (Tower of Faith) to the south, and the Torre della Speranza (Tower of Hope) to the north. The top of the gate house consists of a relief of Ferrante I, the King of Naples, a bust of San Cajetan, and the coat-of-arms.

The current situation: Unlike other city gates in Naples that were either demolished or left standing alone as monuments, the gate House of Porto Nolana has been engulfed by the surrounding city, with modern structures being built atop its Medieval Bastions.

(Faith)

(Hope)

53|54

A wall in naples | Section 2 | Trading

Magna Graecia Neapolis

w in e vin e ya rds p l a n tation fa rm l a n d

55|56

A wall in naples | Section 2 | Trading

Walls as Interfaces Of Gestures, Ritual and Transaction

57|58

A wall in naples | Section 2 | Trading

A wall in naples Charting Colours

Charting colours Throughout this document – a series of colour codes will be used to explain important parts of the project. These colour markers have been taken from a series of paintings that depict Naples history and architecture.

h is tori c wal l

L a n d sca pe

R - 159

R - 150

G - 82

G - 140

B - 72

B - 177

Representation of the

The painting which narrates

historic wall of Naples.

the buzzing nature of Piazza

Depicting a raw and earthly

Mercato once believed to

tone that symbolizes the

be the historic belly of the

remnant nature of the

city, visible behind the city

structure. Parts of th3

sits Mouth Versuvius that

wall still remains and is

blends into the sky while

integrated into the present

also imposing over

fabric of the city

the city of Naples

r itu a l

tra n s ac tion

u rb an f o r m

f eat ur es

R - 186

R - 210

R - 115

R - 143

R - 212

G - 129

G - 80

G - 151

G - 120

G - 202

B - 58

B - 54

B - 199

B - 112

B - 177

Spaces of social gesture,

Surveying the ritualistic

Surveying the transactional

The urban forms which

Detailing the spaces in

the canvas for mercantile

densities within the city.

densities within the city.

marks the natural boundary

between buildings. Marked

and ritualistic activities as

Taken from the facade on

Visible as glimpses of

of the historical piazza

as street features, Narrow

seen in the painting. The

the Church of Santa Maria

mercantile activities around

which takes this colour

pedestrian alleyways,

footprint of Piazza Mercato.

Del Carmine.

the historic Piazza where

perhaps to make a

mercantile canopies and

Within these areas products

store merchants are seen

connection with the natural

other public features.

are sold, auctioned and

wearing garments o f this

tufts stone which is local

bargained between

tone to distinguish from

to the city, dug and used

the people. As well as

the those purchasing the

to construct the buildings

performance of rituals.

various produce

within the city.

59|60

g es tu re

A wall in naples | Section 2 | Trading

Walls as Interfaces Of Gestures, Ritual and Transaction

Gesture This drawing presents a wall of social gesture spaces.

These may be areas where products are sold, auctioned, and bargained between people or people taking part in performative rituals.

61|62

A wall in naples | Section 2 | Trading

Ritual

Ritual The ritual red presents the ritualistic densities within the city where ritual and body interface.

63|64

A wall in naples | Section 2 | Trading

Transactions

Transaction The transactional blue presents the mercantile activity of Naples. The markets highlight the interfaces between goods and traders.

65|66

charting [verb] To plot.

To record.

charting A Wall of Naples (charting) A Wall of Portas (scaling, hinging and anchoring)

A wall in naples | Section 3 | charting

A wall in naples Charting

Charting As well as charting key situations within and around the wall, the Animate Drawing illustrates the collective methodologies in the forms of hinging and rotating for which the individual gateway pieces begin to emerge. The morphology of the wall was animated from the city towards the port as an attempt to speculate potential functions that could be proposed along the harbour.

69|70

A wall in naples | Section 3 | charting

A wall in naples Charting

Charting the wall An early attempt to form a collective narrative between the key themes, this exercise was carried out to experiment with different layers overlaid on an aerial map of Naples to tell a narrative of Trade in Naples and what levels of interfaces are present in the city.

The animating process of charting our site – connecting the city with the port and exploring programmatic linkages with the market life of the city wall.

71|72

A wall in naples | Section 3 | charting

73|74

A wall in naples | Section 3 | charting

5

6

4

8

7 2

3

1.

2.

3.

4.

5.

6.

7.

8.

MDF base representing the original wall Castello Carmine original wall outline Iron support rods representing adjacent urban territory behind the wall Urban territory of Porto Nolana Inner wall Outer wall Perspex showing site territory Mild steel Roads

75|76

1

A wall in naples | Section 3 | charting

A Wall of Portas scaling

heavy wall assembled An early studio modelling excercise helped us determine the path for our individual designs to develop by collectively identifying the wall elements of each proposal. The designs began to take shape following this excercise. This forced the projects to merge back together with the key theme of the wall.

77|78

A wall in naples | Section 3 | charting

A Wall of Portas hinging

Animating the Wall Still from film Extracts of the conceptual model that described our thesis

79|80

A wall in naples | Section 3 | charting

A Wall of Portas

anchoring

81|82

A wall in naples | Section 3 | charting

A Wall of Portas

anchoring

83|84

A wall in naples | Section 3 | charting

I. Porta del vino

II. Porta Pescare

Section AA

85|86

Section AA

Santa Maria del Carmine

A wall in naples | Section 3 | charting

Section AA

87|88

Via Nuova Marina

Piazza del Carmine

III. PORTA PYROTECHNICA

gateway [noun] To give access.

An opening.

gateways Porta del vino Porta Pescare

89|90

PORTA PYROTECHNICA

I. Porta del vino

A wall in naples | Section 4 | gateways

91|92

A wall in naples | Section 4 | gateways

Project Del Vino The historic area of Naples is a city of narrow streets and alleyways. Within this network of structures lies an ecosystem of street markets and merchants, with urban life ordered and contained within the boundaries of the historic city walls. Over the decades, the historic wall’s original battlements and gates have been demolished and built over, creating a jungle of modern structures that have created poor accessibility for people and materials. The siting of the (ghost) wall line lies within the narrow busy market street of Via Sopramuro.

This project aims to improve the accessibility into the city by creating a new gate on the line where the eastern city wall meets the main transit station at Napoli Porta Nolana - the line representing the junction of the old historic city wall and the city beyond. The gateway offers an opportunity to create a new mercantile hub - one that provides vaults and repository spaces for merchants and guilds of the historic wall line.

93|94

Project Aims

A wall in naples | Section 4 | gateways

List of programs – Porto Del Vino contains a number of Programs that are designed to improve the mercantile life of the city and accessibility into the historic city of Naples.

1. Heavy Wall – The Underpass from Napoli Porta Nolana 2. Heavy Wall – The new wall to where programs and functions are connected 3. Hinge – The wine vault – the architectural mechanism that commands the plan of the building 4. Wine Guild – A space for meetings and gatherings to discuss matters of trade and governance of the market area 5. Underpass – The route that connects Porto Nolana with the rest of the city.

6. Vault – The Storage space for wine barrels

4

3

2

1

6

95|96

5

A wall in naples | Section 4 | gateways

Project Del Vino The Project, Porto Del Vino, is a re-imagination of a wine guild that fits within the wider narrative in terms of the architecture, articulation of material and form. Using the narrative of the city wall, the heavy structure includes an underpass that connects the railway station, that lies on the outer eastern side of the city wall, to the historic old city, for use by tourists and other visitors who are transiting through this section of the city. In addition, the structure forms a space for city merchants to gather, and perhaps debate to improve the governing of the market strip. The centrepiece of the structure is a vault in the shape of a cauldron for the storage of wine bottles.

97|98

A wall in naples | Section 4 | gateways

Porto Nolana Gate

Section Through the wall The section is taken through the Via Sopramuro, viewing the wine vault that descends down from the building’s structure. The section illustrates how the route from the underpass meets the foundations of the new wall line.

Via Sopramuro,

99|100

A wall in naples | Section 4 | gateways

5

5

5

The Heavy wall The idea behind the heavy wall is to imagine the new wall as a barrier that visitors from the railway station have to assault to break through. Consider the idea of a castle battlement under siege and an attacking force using cunning tactics and strategies to bypass the city defences. The route proceeds from the railway station to the wall line, breeches the wall through its foundations - the Underpass - and re-emerges on the other side, in the market street.

Programs area attached to the heavy wall structure

101|102

A wall in naples | Section 4 | gateways

The Heavy wall Working drawing referring to the idea of breaching the wall. This early drawing developed the idea of the underpass tunnelling up to and through the foundations of the wall. Aspects considered were; access to the underpass, how to prevent vandalism/ graffiti, and how to address the walkway itself. Tunnelling within a historic context could involve new archaeological discoveries. This would mean that the walkway would need to be carefully addressed to deal for those circumstances.

103|104

A wall in naples | Section 4 | gateways

The Heavy wall Here the wall line was placed at the front of the street with the programs attached to the heavy wall from behind. This was not as successful; the front of the street could accommodate the scale, but it did limit the use of another design element, the protective screens that would form the faรงade of the programs

The Heavy wall

105|106

Here the wall line is retracted back to the side of market street and the programs of the guild hall are attached to the front. This meant that the side of the market street could interface with the heavy wall, enabling better appreciation of the scale and create more flexibility in terms of space for the guild hall.

A wall in naples | Section 4 | gateways

PRODUCED BY AN AUTODESK STUDENT VERS

ODUCED BY AN AUTODESK STUDENT VERSION

Porus wall

The perforated window – The heavy wall contains a porous façade. Stone blocks arranged in a perforated pattern allow light to pass through and enter the wine vault inside.

PRODUCED BY AN AUTODESK STUDENT VERSION 1

3 4

2 6

1.Guild hall 2. Wine tasting vault 3. Gallery 4. Wine aperture 5. Wall aperture 6. Underpass route

5

The Heavy wall Sectioning through the wall: The Heavy wall over several iterations resulted in a structure with apertures and openings to allow light to enter the voluminous building.

The secondary element of the heavy wall area were the timber screens that form the front faรงade of the wine guild. These screens step forward to allow light and airflow into the structure. The screens were intended to create an unambiguous wall frontage to blend the structure with the urban layout and to add to the narrative of a fortified battlement.

107|108

Porus wall

A wall in naples | Section 4 | gateways

Timber screens Heavy wall line

Underpass entrace`

The screens on the front faรงade retract back to reveal the heavy wall line. The screens reveal the opening in the wall line where the underpass is accessed. The idea was to create an appearance of decay and damage from a protracted engagement, adding to the narrative of a New wall fitting within the historical context.

109|110

The screens

A wall in naples | Section 4 | gateways

Experimental models were used to test how the screens attach to the facades of the bridge structure and eastern faรงade. Both sets continue the pattern of the screen retracting from the bottom to reveal the structure and program behind.

111|112

The Screen Frontage

A wall in naples | Section 4 | gateways

Heavy wall line Underpass route Screen Fixings glazing line

Front screens The drawing is an exploded axonometric of the screens on the east faรงade facing the Napoli Porto Nolana railway station.

Screen Fixing

113|114

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

Timber screen facade

3

4

2

5

1

A wall in naples | Section 4 | gateways

1. Underpass channel 2. Bridge Structure 3. Wine Vault 4. Vault Access 5. Wine Storage

With the design decision to create a bridge structure that spanned the market street of Via Sopramuro, there was a need to establish a dialogue with the street. Originally the proposal was to create an access point - an elevator that landed in the middle of the street that took visitors up into the guild hall. However, the descending structure would become the wine vault for the Porto Del Vino.

115|116

The wine vault

A wall in naples | Section 4 | gateways

The wine vault The vault hangs above the underpass as it emerges on the other side of the new wall. The opening it creates allows light to enter the underground spaces below. The underpass as it emerges channels the flow of people along an open trench that is opened to the sky.

The Vault that hangs above the pathway, gives the perception of a defensive structure of boiling oil to defend a bastion from a siege. While this is not the intended function of the vault, it adds to the narrative of a fictional wall.

117|118

A wall in naples | Section 4 | gateways

8

7

6

5

4

3

2

1

Air flow through the wine vault

119|120

Wine Vault 1. Bronze screens 2. Screen fixings 3. Vault structure 4. wine rack 5. Vault access 6. Glass structure 7. Glass Floor 8. Vault Cover

A wall in naples | Section 4 | gateways

1200

The Hinge point The wine vault that descends down from the structure acts as the hinge and focal point of the building. Referring to the concept of gateway mechanisms, the structure is orientated 120 degrees from the main heavy wall, with a connecting bridge to provide access.

oint t

o Mt

Versu v

ius

Axis line of Wine Vault

121|122

Axis p

A wall in naples | Section 4 | gateways

The Underpass Test models for the underpass. These show the wine barrel vault placed along the wall line that helped guide decisions to move it to become part of the entrance to the underpass.

123|124

A wall in naples | Section 4 | gateways

Wine barrel Vault

The Underpass Floor plan of the underpass route

The floor plates of the vault split to reveal light wells that travel down to the ground floor. The underpass passage travels along the vault, acting as a gallery from where the public can view the content inside. As the Vault facades faced due south, protective screens, similar to those of eastern wall faรงade were provided to shade and help regulate the temperature inside.

125|126

Wine barrel Vault

A wall in naples | Section 4 | gateways 4

3

2

1

1. Underpass route 2. Underpass market entrance 3. Wine barrel Vault 4. Protective screens

127|128

1

A wall in naples | Section 4 | gateways

Working on the Porto Del Vino Project has identified a key mode of work; the project was driven by narrative and story of the building. This came from understanding the historical context of the site, reimagining a how a city wall could serve the urban realm. This mode of work has dictated how the building functions, the materials that were employed and the way how programs are overplayed and organized. Modes of work designing that involve designing the according to environmental were secondary. To conclude, the result of the Porto Del Vino didn’t priorities its function as a wine guild, but more as a public building with the wine vault functioning as more as a dramatic statement to the market street, in addition the underpass which is a radical urban design strategy. All with the intension of attracting tourists and local people to improve the economic conditions of the area.

129|130

A reflection

II. Porta Pescare

A wall in naples | Section 4 | gateways

131|132

A wall in naples | Section 4 | gateways

Porto Pescara Porta Pescare is the gateway to a new fishing hive anchored along the ghost wall of Naples. The route of the fish re-connects the sea with the city and the daily transactions of social porosity. Its “wall’” like elements contrast with the light “hull” like programmatic features of a Fishery and Culinary School resting above the market.

New architectural forms animate its historic urban-morphology and serve a hive of activities interfacing between products and consumers.

Fish is transferred from the sea to its consumer along A Wall of Naples. Local fishermen deliver their catch at the port, where it is then transported along the “the hinge” to the fish market and fish auction hall. Here mongers and restaurant owners bid for their ownership. The process of scaling and filleting are sunken into the core of the Wall for the public to appreciate this ancient tradition. The fruit & veg market in the north of the site receives their produce from the Campania region. Local Provolone originating in Casilli on the slopes of Vesuvius and Scarmoza are aged below the market before they are ready to be grilled and smoked on site.

Vectorwork

133|134

a. Fish Market b. Fish Scaling & filleting c. Fish Smoking d. Fish Auction Hall e. Fruit & Veg Market f. Cheese Aging Cave g. Cheese Smoking h. Ice Production

A wall in naples | Section 4 | gateways

Casting a wall Porto Pescare’s Wall is a concrete cast-in-situ structure. The mould represents the ghost wall, (the wall that doesn’t exist anymore) but is felt in its material. The process of building this cast structure expresses its porosity but also signifies the wall’s seamlessness as a whole product rather than individual pieces that are assembled.

Its rougher process and thick sections result in a wall-like architecturally insignificant feature, much like the wall in Jones’ painting. The “filling” of the wall which formerly would have probably been stone is hollowed for circulation and programmatic usage. The smoking chimney acts as a structural buttress against the wall.

135|136

A wall in naples | Section 4 | gateways

Sectioning the wall The external surfaces of the wall reflect each other yet they are uniquely shaped to highlight their materiality strength and presence as a new “gateway.� The outside of the walls are dressed differently. The wall facing the city slants inwards towards the city highlighting the presence of the external city, while the wall facing out of the city gently slants away. The thick mostly enclosed element opens itself into the timber pods which are gently attached to the wall and rest above the market.

Section through Fruit and Veg Market

137|138

Section through Fish Market

A wall in naples | Section 4 | gateways

The Fish Market The Fish Market features stalls that dock into the wall and create narrow streets which mimic the typology of the docking buildings on the opposite side of the wall. The scaling and filleting area is located in the middle of the market for the public to be able to watch and feel part of the process.

139|140

A wall in naples | Section 4 | gateways

A Wall of interfaces The wall serves as the interface between people and goods. The markets are a part of the main “wall� and the fish are displayed within steel basins on the wall.

The building has many water features primarily serving the market as well as hygiene puroses.

The water system runs down from the top of the wall where the water is caught or pumped up to. The services are are cast into the wall.

141|142

Exploring the conditions and barriers of the current fish market site

A wall in naples | Section 4 | gateways

143|144

A wall in naples | Section 4 | gateways

Above the Fish Market, fish is consumed in a social and informal manner. These ‘hull’ like pods gently rest upon the market stands and interact with the activity that takes place below. The process of salting, drying fish takes place before its placed in the chimney. Above the Fruit and Veg Market there are a series of short term let apartments which bridge over the hustling street below.

1st Floor Plan

145|146

Fishery

A wall in naples | Section 4 | gateways

Fish Restaurant On the second floor fish is heated, smoked, prepared and eaten in a formal restaurant manner. The remnants of the ghost wall fortify a Tea Tower which overlook the market, the street and other activities and provide a peaceful place within The Wall.

2nd Floor Plan

A Fish Culinary School on the top floor invite people from outside the fishing community to learn ancient traditions and recipes native to Naples. The culinary school provides classes for tourists as well as locals to learn ancient methods of preparing fish and other local dishes. Above the Tea Tower a herb garden provides spices to the kitchens.

3rd Floor Plan

147|148

Culinary school

Development versions of the design.

A wall in naples | Section 4 | gateways

149|150

4th Floor Plan

A wall in naples | Section 4 | gateways

Timber panels shade the interior of the pods and allow for a breathable and odorless atmosphere.

Environmental strategies

Biogas from the anaerobic digester provides a sustainable resource of energy for the Kitchens.

The narrow market-way streets allow for light to penetrate indirectly down to the market in an ever-changing unique manner.

The anaerobic digester recycles all fish waste into biogas and fertilizer.

Water catchment system on the roof provides water to the herb garden.

On-site ice production produced from recycled water.

Water is drained and recycled providing the kitchens and open taps with ever-running closed system of fresh water.

151|152

Herb Garden.

A wall in naples | Section 4 | gateways

the pods The light timber “hull� pods rest on the market and house the programs above. Timber panelling wraps around the pod mimicking the hull of a ship and allows for an odourless and breathable structure.

a. Cast concrete market stands b. brushed steel basins c. Market storage d.timber columns e. timber ‘hull’ ceiling f. timber beams g. clt composite floor h. clt walls i. timber battens facade j. timber columns k. Sandstone panels l. basalt stone paving

j.

h.

g.

i. f.

e

k.

d.

c. b.

l.

153|154

a.

A wall in naples | Section 4 | gateways

The research gone into this project has proven Porta Pescare to be of social and economic value to the Mercato Pendino neighbourhood and local fishing community. Porta Pescare deals with so many performative functions within a confined piece of the wall, it questions whether it would be liable for such a hive to function – maybe it would have been more feasible to create a series of gateways along a larger section of the wall? The programmatic ambitions didn’t allow to be worked into detail as the large scale challenged us with its obstacles. I would be interested in exploring the project along with the theme of a “A Wall of Naples” at smaller scales to further explore the definitions of a tangible wall. Animating the wall down to the port would give the city back its connectivity with the sea.

155|156

A reflection

III. PORTA PYROTECHNICA

A wall in naples | Section 4 | gateways

157|158

A wall in naples | Section 4 | gateways

The art of firework making Pyrotechnician are the modern day firemasters. Pyro comes from the Greek word pyros, which means “fire.”

During the renaissance, official posts were created in royal courts for firemasters, who were in charge of designing fireworks displays to celebrate military victories, religious festivals, and the crownings of kings and queens. From that, Pyrotechnic Schools emerged which emphasised elaborate fireworks with tall towers, painted murals and gilded edges. Through explorations into materiality, it was the Italians who in the 1830s became the first to incorporate trace amounts of metals and other additives, creating the bright, multihued sparks and sunbursts seen in contemporary fireworks shows (Brock, Alan St. H., 1922).

Jacob Hackert, Fireworks over Castel Sant’Angelo in Rome, 1775.

159|160

A wall in naples | Section 4 | gateways

Festa del carmine Translating to Our Lady of Mount Carmel, Santa Maria del Carmine with its distinct tower is located on Piazza del Carmine, which was once a section of Piazza Mercato. During the renaissance period, the piazza was once the centre of civic life in Naples for many centuries until it was cut off from the rest of the city by urban renewal in the 1900s, which also saw the adjacent Castello del Carmine demolished. The area, including parts of the church premises, was heavily bombed in World War II and still shows the scars of the devastation today.

Every year, between 13th to 16th of July, Neapolitans gather to feast in honor of the Blessed Virgin Mary of Mount Carmel. In the last century, the party attracted crowds from all over the city and the province. Erected in the square were the stalls of vendors selling mussels, watermelons, and above the streets were the traditions of tarallo and beer on the balcony of houses while people listened to the broadcast songs in the streets of the neighbourhood. The culmination of the Festa del Carmine is the traditional “incendio del Campanile� (bell-tower on fire)

Drawing from the history of celebrations and revolutions that has occurred within this location over the course of its history, the gateway will act as a production ground for these performances throughout the city. Feeding from the natural resources of Mt Vesuvius to manufacture firework displays in the traditional form of aerial shells.

Incendio del Campanile Santa Maria del Carmine

161|162

“Rituals in Naples are defined as a form of communication, in the guise of symbolic actions, gestures and prescribed utterances� - Astarita, 2013

A wall in naples | Section 4 | gateways

Surveying THE WALL AND THE ISLAND This investigation sought to piece the remnants of the wall back into what historically existed, also demonstrating the old medieval coast line which runs along the historical wall of the castle. Through this study emerges a strategy in how to treat the remnant castle towers and recasting the wall piece.

Satellite map of the site with the remaining castle towers

Map overlayed with plan of the Historical Wall and the Church in relation to the ancient coast line

A first attempt in forming the wall piece and understanding the potential movement from the port to the city. This stage also saw the introduction of the production programs which begins to attach onto the wall.

163|164

Bridging the interface

A wall in naples | Section 4 | gateways

FOOTPRINT OF THE WALL Establishing the final wall piece along with the movement into and through the component.

Situated on an island detached from the city remains the remnants of two forgotten tower pieces that were once a part of the Castello del Carmine, historically a military threshold between the city and the sea now demolished to make way for the Via Nuava Marina. Establishing this site as an important interface between the port and the city, Porta Pyrotechnica will seek to reactivate the footprint of the ghost wall and reconnect the two castle towers, creating the wall piece for which the programs are to anchor and dock upon.

165|166

Porta pyrotechnica

A wall in naples | Section 4 | gateways

Positioning the gateway Once the wall piece has been defined the pyrotechnics laboratory gateway can emerge from the spine.

Emerging into the garden Moving through the underpass underneath Via Nuava Marina from the port will lead into the public garden. The framed walkway guides the public to the stairs that takes people onto the wall, passing in between the laboratory.

Docking and Anchoring to the wall, the Laboratory sits in between the public battlement at ground level and the garden which shares the same height relationship to the sea. The process for creating firework follows the linear form of the wall as the public will move in between this production chain.

167|168

Passing between the gateway

A wall in naples | Section 4 | gateways

Hinging and pivoting the gateway As well as reactivating the footprint of the historic Castello del Carmine which faces towards the sea, the gateway was created by rotating the point of Porto del Carmine. Once a prominent gateway leading from Mt Vesuvius in Piazza del Mercato now demolished. Using the centre of the existing tower as the reference point to which to rotate the wall piece, the gateway now follows the axis of the interface between the port and the city.

169|170

A wall in naples | Section 4 | gateways

City - gateway - port Utilising the concept of gateways, Porta Pyrotechnica will form a porous situation within the interface between the proposed port development to the city. Accessing from the drawbridge that begins from the front of Santa Maria del Carmine onto the public wall battlement, descending to the garden and eventually approaching the port through the underpass.

171|172

A wall in naples | Section 4 | gateways

Responding to the interface The gateway takes into consideration the morphology of the port and the city to determine the movement through the island. The height continues beyond the remaining monastery to reflect upon the workshop units, and the sea level will encompass the public garden.

Sensitive but consistent to the idea of reactivating this section of the wall, the first stone tower will be occupied by a vault for which the products of the Pyrotechnics Laboratory are to be stored. Private and only accessible to those working within the production process, the Vaults occupies the upper arrangements and below will be the alchemy ingredients archive for the storage of recipes. The lowest level of the tower will house the equipment and scaffoldings for use during festivals celebrated within the city. The vault itself will be a heavy concrete construction to contain the combustible objects inside and clad externally by corten steel sheets.

173|174

Occupying the tower - pyrotechnics vault

A wall in naples | Section 4 | gateways

From garden to the church Establishing the materiality and relationship between the Gateway to the Church.

Progressing down from the drawbridge and through the public battlement the public can ascend up to the timber hull, entirely constructed by timber to express the narrative of the merchant ships. Similarly to the Vault tower, there is minimal disturbance in how the hull occupies the medieval stone tower, with the structure is suspended from the top of the stone tower by timber braces and Taking inspiration from the paintings, as well as the themes surrounding the historical context and the gateway, the hull will frame the view towards Mt Vesuvius and Santa Maria Del Carmine church tower.

175|176

Occupying the tower - observatory hull

A wall in naples | Section 4 | gateways

TESTING AND SIMULATION The key component of fireworks being stars, small pellets of pyrotechnic composition which contains metallic powers, salt and other compounds that when combined and cooled will create a particular explosion and colour when ignited. The testing tower provides rooms for which these stars can be experimented with to reach the right composition before compiling into the aerial shell to be stored. Once the stars are set up and ignited, the footage can be accessed via the camera to the simulation room where the explosions can be analysed.

Docking - Predominantly light weight timber framed construction which will situate in between the Heavy Vaults and Testing Towers, drawing from the analogy of small boats docking into the harbour

Anchoring - Robust to contain potentially combustible materials and situations. Cast in situ concrete construction with distinctive heavy bracing which wraps over the public battlement and anchor onto the wall piece.

Occupying - Retaining and Reutilising the remaining parts of the old Castello del Carmine.

177|178

Recasting the wall piece and connecting the medieval tower remnants, forming the foundation for which the programs can attach to.

A wall in naples | Section 4 | gateways

Moving through the gate View on the wall piece down the public battlement towards the Observatory Tower

Being a challenging situation of an island stranded on Via Nuava Marina, an infrastructure that fractured the relationship between the harbour front and the city, Porta Pyrotechnica has formed a porous surface that allows the passing of people between these two interfaces. The research into the adjacent church along with its rich ritualistic background was chosen to drive the narrative for the gateway to create a function for which other festivals around the city can thrive upon. Because the project is strongly based on the concept of ritual and the dialogue that occurs between the people and the performance, the relationship between the public and the process of pyrotechnics perhaps could have been further explored to study this relationship at a more personal scale.

179|180

A reflection

A wall in naples | Section 4 | gateways

A group Reflection Initial interest in historic paintings landed us on Gargiulo’s painting Piazza del Mercato. We were inspired by the vibrant market life the colourful painting portrayed. This led us on to exploring trade and ritual within the city. It was only later on that we came across the unique painting of A Wall in Naples by Jones, which helped us develop our thesis. The port, a major wall to the city yet the biggest gateway, inspired us to explore navigation methods which we introduced through the animate drawings. The issue with dealing with such a large site, which as a result didn’t open the opportunity of us to explore the wall at different scales. Instead, time was focused more on how the pieces were situated within the context.

With this realisation we discovered that the thesis could be applied to other parts of the ghost wall, employing a different mercantile function, depending on the needs of the local area. However, upon reflecting on our proposals as a single structure, we realised that these new wall pieces served to improve the urban realm around them, by creating a porous threshold that improved the way how people and goods transited through the city. We came to an understanding through our methodologies that the wall can be defined as a spine for which trade practices and ritual performances can anchor on to.

181|182

R - 129 G - 83 B - 52

R - 121 G - 94 B - 80

R - 149 G - 118 B - 87

R - 52 G - 83 B - 109

R - 159 G - 82 B - 72

R - 184 G - 135 B - 73

R - 195 G - 142 B - 99

R - 73 G - 108 B - 132

R - 210 G - 80 B - 54

R - 180 G - 124 B - 116

R - 213 G - 180 B - 137

R - 110 G - 140 B - 158

R - 186 G - 129 B - 58

R - 220 G - 124 B - 108

R - 195 G - 150 B - 132

R - 84 G - 92 B - 55

R - 211 G - 179 B - 128

R - 204 G - 160 B - 145

R - 228 G - 152 B - 136

R - 107 G - 106 B - 87

R - 212 G - 202 B - 177

R - 204 G - 104 B - 108

R - 180 G - 124 B - 116

R - 206 G - 192 B - 155

R - 210 G - 170 B - 158

R - 104 G - 133 B - 134

R - 156 G - 86 B - 75

R - 91 G - 83 B - 67

R - 150 G - 140 B - 177

R - 131 G - 171 B - 182

R - 105 G - 115 B - 93

R - 133 G - 214 B - 104

R - 143 G - 120 B - 112

R - 160 G - 192 B - 198

R - 117 G - 142 B - 122

R - 105 G - 115 B - 93

R - 16 G - 108 B - 148

R - 219 G - 228 B - 228

R - 138 G - 161 B - 155

R - 160 G - 142 B - 97

R - 115 G - 151 B - 199

R - 174 G - 160 B - 150

R - 168 G - 186 B - 184

R - 161 G - 164 B - 169

R - 153 G - 143 B - 134

R - 228 G - 236 B - 236

Colour Index piazza mercato

Colour Index departure of charles of bourbon for spain, seen from harbour

Colour Index departure of charles of bourbon for spain, seen from harbour

Colour Index A wall in Naples

Robb, Peter. Street Fight in Naples. Crows Nest, N.S.W.: Allen & Unwin, 2011.

Astarita, Tommaso. A Companion to Early Modern Naples. Brill's Companions to European History 2. Leiden: Brill, 2013.

Brock, Alan St. H. Pyrotechnics: The History and Art of Firework Making. D. O’Connor, 1922 Black, R., 2012. Porta Palazzo : the anthropology of an Italian market First., Philadelphia: University of Pennsylvania Press.

Lubbock, Tom. “Jones, Thomas: A Wall in Naples (1782).” The Independent. Independent Digital News and Media, October 22, 2011. https://www.independent.co.uk/arts-entertainment/art/great-works/jones-thomas-a-wall-innaples-1782-744416.html.

183|184

The National Gallery, L., 2020. Thomas Jones | A Wall In Naples | NG6544 | National Gallery, London. [online] Nationalgallery. org.uk. Available at: <https://www.nationalgallery.org.uk/paintings/thomas-jones-a-wall-in-naples> [Accessed 13 May 2020].