THE MONUMENTS IN NAPLES
Sant'Elmo

In the 1329 Roberto of Angiò it ordered the construction of a military complex on the hill of S. Erasmo (actual S. Martino) with the purpose, from a side, to check the roads that conducted in the city from the high ground that surrounded and, from the other, of tender the underlying urban agglomeration. In his strategic sketch the king angioino was preceded certainly by the Norman ones, which, in 1170, they let erect on the same hill a tower of observation that, in the time you have to assume ampler dimensions. Of this construction is known little solo that was called Belforte and was surrounded by a luxuriant vegetation.
More conspicuous they are the news around the castle for instance wanted by Roberto the name of the architects: Francis of Vito, Tub from Camaino and Atanasio Primario physician.
In 1348 the castle, ended hardly, you have to withstand his first siege from the king of Hungary, Ludovico, that had organized a consignment against the kingdom in Naples to avenge his brother Andrew, whose killing was attributed vox populi to his wife, the Queen Giovanna of Angiò. But king Ludovico's permanence lasted few because the burst of a deadly pestilence induced him to make bundle as soon as possible. A second consignment was had in 1350 and concluded with a peace followed to convulsive negotiations. It followed a hard struggle between the branches of Angiò and Durazzo and the other queen Giovanna of Durazzo revenges the castle to one lover of his for 2500 dukedoms.
Our castle became the again more circle military objective when, subsequently, French and Spaniards competed for the possession of the kingdom in Naples. The king of Spain Charles V definite of to reconstruct ex novo the castle and to promote the initiative was Pedro de Toledo, the only Spanish viceroy that, when it decided to do something, it did with the due seriousness and with indisputable efficiency: him, in fact left an indelible imprint in Naples, conferring to the center historical part of the urbanistic solutions that anchors today they characterize it. The architect was Spanish Pietro Luigi Scribà, that began to operate in 1537 a general effecting fortification of the whole high ground of S. Martino. The Scribà conceived the castle to stellar plant with six points comprendente the areas destined to the defense, to the polveriera, the lodging for the castellano and those for the garrison, ample courtyards and undergrounds, environments for the detention, vast stores, a church and a colossal swimming pool in degree to assure an abundant water restocking. A work " ciclopica " with boundaries in stone very thick and strong from to result practically unassailable.
In 1587, however, because of a terrible storm, a lightning was demolished on the polveriera and belonged to the construction to explode that falling on the city brought notable damages to many monuments and churches.
 
It is worth the punishment to visit the 1547 S. Erasmo church that preserve a valuable floor in maiolica and cooked. Behind the altar there is the grave of Pietro de Toledo, relative of the viceroy and first castellanos of S. Elmo. In front of the entry of the church the jails are found in which had confined, between the other Giovanna of Capua, princess of Basin, for her erotic lack of restraint that brought her up to the crime; Thomas Campanella that, it is told, here his wrote "City of the sun"; Angel Carasale, the architect that planned and realized St. Charles that was accused to have gained on the funds of the jobs and for this died of heartbreak; Mario Pagano; Domenico Cirillo; Gennaro Serra of they Erase; the count Ettore Carafa; Francis Pignatelli; Giovanni Bausan; Luigia Sanfelice; Pietro Colletta; Charles Poerio; Silvio Spaventa etc.

 
Steeple of the Immaculate one- Plaza Jesus Nuovo

The obelisk to the center of the plaza; in a first time it was born as equestrian monument to Phillip V (in Spain they are preserved two sketches of the statue that adorned the plaza).
Subsequently to want some Jesuit father Pepper, that was beaten for the laws of the poor men and it had free access to court because esteemed for his impetuous moral integrity, in 1747 the beautiful Baroque guaglia was built devoted to the immaculate one with big dismay of the duke of Monteleone that feared the demolition of the tall one and svettante construction on the façade of his building.
Tener is necessary I count that Naples has been funestata from ruinous earthquakes, in reason for a pair to century, that have destroyed almost all systematically the most important monuments in the city from the medioevo. But you wave her protests of the duke they didn't get the favor of the king that, instead would have liked to collaborate of own pocket to the big popular " collection " wanted by father Pepper that refused for succeeding alone, (and he succeeded) to raggranellare her not indifferent figure between the citizens to pay the artists that collaborated to the stupendous construction.
Recently an important consolidation of the carrying structures and the metallic hooks that they hold up the numerous sculptures to the body of the steeple has been operated also.
The project of the steeple of the immaculate one is of the Genoino on indications of the same father Pepper; the beautiful sculptures is statues to everything round that medallions in holy representative altorilievo of the order Jesuit and evangelical episodes, they are of Matteo Bottiglieri and Francis Pagano.  The new symbol of the Jesuit power he took the place of the unlucky monument forever to Phillip V that it had two years of life only, from 1705 at 1707 o'clock, when with the Austrians' entry in Naples, the populace, that raged on the simulacris to back, it demolished him.
Gallery Umberto Primo

The construction of the gallery Umberto I had realized in a social context and in a situation building dramatic rhesuses from the 1884 cholera epidemic; the expansion of the disease forced, in fact, the political class to face the problem, by now inderogabile, of a general renewal of the urban structure.
Further to intervene, through disembowelment, in the districts I Bring, Pendino, Market and Vicaria, where the precarious hygienic conditions and the excess of population had made more serious the consequences of the cholera, were named an errand with the assignment to examine the possibilities of a practice and immediate realization of the projects for the reclamation of partial areas, introduced by Neapolitan professionals.
They belong to these initiatives the proposals related to the zone of S.Brigida, whose physiognomy had gone defining between the ' 500 and the ' 700 following the opening of street Toledo and to the new location of the Viceregal Building. The buildings that delineated the perimeter of it introduced a dignified aspect, not the same happened to the inside; in the alleys that crossed the dense and crumbling nucleus they were raised bleak and tall buildings under bad conditions in which 6500 persons were thickened in few more than 14000 square meters.
In the zone the churches of S. Ferdinando and S. Brigida and the Buildings Cirella and Barbaia that will condition the final choices rose also.
The documentation of four projects has come there introduced by Savino, Cottrau, Pisanti and Cassitto, Rocco, in which, also in the difference of the proposed solutions, he has always felt the demand to get a better view of the theater S. Carlo. The first two are anterior at 1885 o'clock and they are from to set in relationship with the plans of reclamation of the zones wished beginning from 1870, after the setup of the neighbor plaza Town hall.
The engineer Emanuele Rocco, author of the proposal that will have realized, introduced two different projects, the first one of which appears deprived of any interest; in the second, instead, on the resultant area from the demolitions four ample buildings are raised redeemed by a big gallery in iron and glass of 1076 meters square and wide 15 meters, planned by the ingegner Paul Boubée; the four braccis, of different length, intersecting they give them place to an octagonal cruise covered by an ample dome. The most important buildings are preserved and, to the height of the S. Carlo, a parvis to esedra not only disguises to the outside the inevitable result in diagonal of the gallery, but it creates at the time same one I broaden to the theater from now on.
Without making blame to the sure validity of the project Rocco, we have to remember that it was conclusive, to the goals of the realization of it, the payment, to the action of his/her presentation, of a security of 100.000 liras from the Society of the Esquilino in Rome, what future firm contractor.
Although in the executive phase they were brought some varying to the primitive idea, the jobs procedettero swiftly: November 10 th 1892 the gallery was inaugurated solemnly by the mayor Nicola Amore and, for the occasion, an exposure of artistic, industrial and handicraft products was held. Inside the gallery, the contrast between the structure in iron, also this limited time to the only coverage and the underlying long façades neorinascimentali has resolved happily with the adoption of an only procedure for both the materials not keeping track of their different nature, in the precise intent to underline the structural value of the carrying elements. It is effected in such way a perfect correspondence between the framework of the pillars in masonry and you curve them outlines of the substantial trusses reticolari that together they contribute to characterize the work.
There is from to observe that in the gallery Vittorio Emanuele in Milan built by Joseph Mengoni over first vent'anni (1865) and become a constant term of reference for that Neapolitan, we didn't succeed in realizing such an unitary accord between two different material adopted. In our case, besides, one total elimination of the masonry is almost effected in the terminal walls of the braccis, deprived of carrying functions, through ample openings on the surrounding roads.
For the same reason to the plain earth you smooth pillars, deprived of decoration, they frame the showcases of the shops and him ample vain of the mezzanines and anchor, in the superior plans the serlianes and the bifores are withdrawn in comparison to a smooth band on which the pillars project. The decoration besides, to foliage's interlacements on gilded funds, work of Ernesto Of Mauro and Anthony Curri, it is subordinate to the architectural pagination and it is, therefore, contained within precise spaces.
To the intersection of the braccis sixteen trusses reticolaris constitute the skeleton of the ample and aerial dome and, departing from a ring in iron decorated by stars, is connected to the center through another circular element in turn surmounted by a coverage glass door. Simple decorative elements in iron follow the course of the arcades of tax thickening each other in correspondence of the plumes where angels in ghisa give prominence to the structural knot. The same contained formulation is pursued in the lets external; here a tall pilastrata, comprendente three plans with ample glass door, it serves as base to the smooth superior surface; an emphatic and representative character finds each other entirely on the principal prospectus, in front of the S. Carlo, richly adorned of statues in marble and niches. The big structure in iron and glass became the symbol of the bourgeois class and the capitalistic future of the city contrasting each other, also visually in the urban panorama, to the architectural emergencies of the you pass dominant classes.
Artistic and worldly center in the end of eight hundred and the first decades of Nine hundred, the famous saloon Margherita was you, that entertained the greatest artists of the variety show from Fregoli to Maldacea, from Elvira Donnarumma to the Fougè.
Frequented up to 1912 from the better aristocracy of thought and blood, it started to decay between the two wars up to be reduced to cinema room of lowly person order, that up to some decade back it still entertained modest curtain-raisers for struck and " filonisti " that spent the idle forenoon and part of the afternoon.
Royal building

The splendid construction had raised beginning from 1600 for one of the greatest and populous capital city of the Spanish empire. The building, inhabited first from the Spanish viceroys, from the Austrians, from the Borbones and finally from the Savoia, has been center and image of the power, as well as I untie some historical circumstances of Naples and the Midday for almost four centuries.
The project was entrusted by the viceroy, Fernando Ruiz de Castro, to the architect Domenico Fontana, between the most famous architects of the time, draftsman of the Rome of Sisto V.
 L'originario square body had widened one century afterwards with the New " Arm " wanted by Charles of Borbone. In eight hundred, after a fire, Ferdinando II of Borbone commanded radicals jobs of setup of the Building. The restaurations, conducted by the architect Gaetano Genovese, they widened and you/they regularized, without twisting, the ancient factory, conferring her an unitary and coherent architectural imprint. It was born in that years the "Ala of the Parties" and a new façade toward the sea solemnized from a tall plinth of bugnato and from a quick tower-belvedere.
It's entirely of the Fountain the long façade manierista. To end Eight hundred the external niches had occupied from gigantic statues of the Kings of Naples, the first of the respective dynasties (Roger the Normanno,Federico II of Svevia, Charles I of Angiò, Alfonso I in Aragon, Charles V of Asburgo, Charles III of Borbone, Gioacchino Murat, Vittorio Emanuele II of Savoia). To the center of the façade they jump the real and viceregal coats of arms; under the balcony of parade it is instead the coat of arms of the Savoia.
Entered in the Building it is accessed the Courtyard of honor that preserves intact the imprint architectural fontaniana. Of front is a fountain ottocentesca with statue of Fortune. To the left it is gone toward the Gardens, to the right toward the Courtyard of the Carriages and the Courtyard of the Belvedere.

The historical apartment

Real apartment - offers the real rooms of label to the visit to the noble Plan, as have been delivered there by the history, with you furnish of the epoch wisely distributed to him. In the seventies some rooms have been systematized to gallery of work of art with arrangement type thematic and historical-stylistic. It have not come there, also for the serious damages and the dispossessions suffered from the building during the last war, the rooms and you furnish of more daily use to him (bedrooms, baths, kitchens, etc.).
The aboriginal decoration seicentesca has documented above all today from the frescos of historical subject of taste slow-manierista that they decorate the most ancient rooms with cycles of paintings directed to exalt glory and fortune of the winning Spaniards. In the Seven hundred Charles of Borbone it came to give dignity of capital of an autonomous kingdom in Naples. Also Charles widened and let adorn Royal Building with pictorial masterpieces of that years and with the beautiful ceilings of the Rooms of the Regina (white plasters on fund gold). we Owe many to the taste of Carolina Murat of you furnish furniture of neoclassic taste to him.
The historical apartment is accessed for a monumental and bright Staircase of honor conceived in 1651 and then systematized and decorated by G. Genovese between 1838 and 1858. The Staircase is furnished, in the inferior zone, of white and rosy marbles decorated with trophies soldiers and allegorical bas-reliefs.
A great deal beautiful it is the rich marmoreal baluster of pierced marble, in the zone superior monumental statues in chalk (the Fortitude, the Justice, the Clemency and the Prudence). At the end of the Staircase it introduces in the bright Ambulatory, protected from eight hundred glass door.

Teatrino of Court - it was prepared by Ferdinando Fuga in 1768. A great deal damaged in the last war it preserves the aboriginal 12 statues in cartapesta raffiguranti Apollo, Minerva, Mercury and the nine muses. It entertained representations of funny work of Paisiello, Cimarosa and Piccinni. A lot of they are the visitable Rooms, rich of paintings, frescos, statues, tapestries and furniture of epoch; this is the list of it without detaining us on the wonder that we can admire:
It salts Diplomatic - Saletta Neoclassica - Fastis of Alfonso the Magnanimous one - Room of the Throne - the Ambassadors' Saloon - Room of Maria Cristina of Savoia - Room of the Gran Bretagna Heads - Room of Flemishes - the King's Study - Room of the Six hundred Neapolitan - Room of the Painting of Landscape - Luca's Giordano Room - Six hundred Painting Room - Room of the Painting Emiliana - Room of the Dead Natures - Neoclassic Room - Saloon of Ercole - Room XXIII - Don's Chisciotte Room - Room of the Painting of Landscape Neapolitan of eight hundred -
Frescos of D.A. Vaccaro - Room of the Watches of the body - Real Chapel.

The Real Gardens rise in an area that has always been green estate from the ruling Royal to Naples to depart some foundation of Castelnuovo with the Angioinis, at the end of the XIII century. In viceregal epoch the garden had systematized to park with avenues, statues and secret " gardens ". The big jobs of amplification and restauration municipal to half eight hundred also interested the gardens where big number of plants, magnolie, lecci, rare plants of big variety and cromatismo. It had installed garden it had a new romantic sketch "to English" with aiuole and sinuous paths to the search of unpublished views on the gulf, the Vesuvius and the hill of St. Martin and it became aspired destination of the travellers to Naples in eight hundred. The garden was encircled in that years from a magnificent iron railing with lances to gilded point, on which is opened, really in front of Castelnuovo, an entry delimited by statues in iron of Palafrenieri (known as "bronze Horses") the czar's gift Nicola I to Ferdinando II.

Maschio Angioino

Occupied Naples, in 1266, Charles of Angiò didn't find adjusted the real residence of Castel Capuano, that had been made also pompous and pleasant from Fred II, and he wanted to build a strengthened palace, preferably next to the sea. It chose a zone out the boundaries, known with the name of Campus oppidi, in whose center rose a chiesetta francescana. The tempietto was demolished and reconstructed to expenses of the sovereign and the jobs of the new residence elsewhere, denominated Castel Nuovo, it were entrusted, according to the registers angioini, to the architects French Pierres de Chaulnes and Pierre of Angicourt even if the Vasari assigns the project to Giovanni Pisano. Of sincere Gothic architecture, the castle had begun in 1279 and ended in 1282. It had an irregular quadrilateral plant, four towers of defense, tall boundaries merlate from the narrow loopholes, a depth ditch that surrounded it entirely and an ample portal of entry with bridge drawbridge.
Charles of Angiò, however, never lived while his child Charles II settled you, that ordered radicals jobs of amplification. Other jobs of restructuring and of embellishment they were let from Roberto of said Angiò perform the Wise man, that was also served some work of Giotto that he had worked in Naples since 1328 at 1333 , between the other buttocks the Chapel Palatina with" Scenes of the New one and the Old Will", work that they don't exist anymore today, perhaps destroyed by one of the innumerable earthquakes. Boccaccio also lived to Naples in that years as Tub of Camaino because Roberto of Angiò loved to surround of artists and literates.
During the period angioino between the boundaries of Castel Nuovo one of the most known events of the history medioevale verified each other: the big refusal of Celestino V the 13 December of 1294. Always in his rooms, the new conclave elected the cardinal Benedetto Caetani that with the name of Bonifacio VIII it let regret a lot of the old hermit. To the death of Roberto the Wise man the castle was lived by Giovanna of Angiò, described by the more as frivolous and desirous woman that, between the other it didn't hesitate to commission the assassination of his husband Andrew of Angiò, brother of the king of Hungary. Also the second queen named Giovanna, sister of king Ladislao, slope to the throne in 1414, was rather woman of free customs, the legend tells that it let kill all his/her lovers to avoid that they went around to speak of her badly.
Fortunately in 1442 the crown in Naples was encircled by Alfonso in Aragon said the Magnanimous one patron of exceptional virtues,; near his court the famous Academy Pontaniana that involved the best talents of which it prepared the Midday rose. Naturally Alfonso in Aragon ordered a radical restructuring of his residence to the architect aragonese William Sagrera that gave the aspect to the construction that today preserve almost integrally. He anchors the conformation of the greatest room today can be admired, a miracle of static architectural, tall about thirty meters, introduces a coverage to groins that, departing from the center, is connected elegantly perimetrali to the solid boundaries. This room is said "of the Barons" because in the 1486 Ferrante in Aragon, child of Alfonso, gathered all the barons of the kingdom to you to halt them in mass. Alfonso let erect the magnificent arc of situated triumph to the entry of the castle besides and thought by the experts one of the most beautiful work of the Italian Renaissance. They exist well four names of his possible authors: William from Majano, Luciano Laurana, the Pisanello and Pietro from Milan. During the war events that they saw French contrasted the castle to the Spaniards it was more times ransacked and private of every wealth therefore it survived in a climate of orderly grayness for more than two centuries and solo in 1734, with the crowning of Charles of Borbone, it reassumed a certain dignity. The last event worthy of note was recorded in 1799, when French proclaimed you the constitution of the Republic Partenopea.
Naturally as every castle that have self-respect, the Virile Angioino prepares of ample underground and of dismal jails; there is then a cell dictates "Cell of the Crocodile" that, it tells the legend, it was fed some enemies of the ruling and the unlucky lovers of Queen Giovanna.

Castel dell' Ovo

Situated on the islet of Megaride, on which, according to the legend, the inactive body of the siren Partenope was entangled. Here the Cumanis disembarked in the VI sec. a.C. to found you the first nucleus of the future city; here, Lucullo, of return from Asia with immense wealths, it was let build a sumptuous residence that was prolonged up to the dirimpettaio mountain Echia; here Mark Tullio Cicero and Catone the censor esperirono their function of testamentary performers of the friend prematurely disappeared; here, in the V sec. AD, him the monks installed cenobiti that built some monasteries; here it disembarked and it found shelter S. Patrizia escaped the desires of his uncle emperor of east; here duke Sergio's militias evicted the monks to install you a military garrison; here Roger the Norman one gathered his militias; here, finally, Roberto of provident Angiò to erect a real castle endowing him some strong square towers that anchors today they arouse respect. The castle also dressed again the role of jail, had confined you between the others: Romolo Augustolo, last emperor of west; the child of king Manfredi of Svevia; the princess of Acaja; Thomas Campanella; numerous giacobinis, carbonari and liberal between which Francis De Sanctis.
It was place of innumerable war events: it had contended from Angioini and Aragonesi; during the conspiracy of the Barons it was completely ransacked; it was bombed from the French of Luigi XII and from the Spaniards of Consalvo from Cordova; the supporters of the Republic 1799 Partenopeas, used instead his guns to shoot on the city, and to intimidate the inhabitants. The last battle was had in 1809, when the castle was opposed anglo-borbonica to a fleet.
However it also recorded some cheerful event, as for example, the birth, in 1271, of the first-born of the prince of Salerno, Charles Martello. It was also particularly beloved, Alfonso in Aragon, preferred always it to the most comforting Castel Nuovo and spent long periods with all court. It was rehandled during the years and the last radical restructuring had served as the Borbonis, that they conferred him, big way, the characteristics that it has today. After the last restauration for the G7 meeting
of 1994, it is very more easy to visit it. Crossed the wharf that connects street Caracciolo with the island it is entered in the castle through the principal entry. The most interesting things from to see are: the Tower Teacher, the monks' cells dug in the rock; the room that, probably it entertained the refectory of the cenobitis, where five rows of columns appartenentis are found to the villa of Lucullo; the tower called Norman and a circular tower; the ruins of the church of the Savior. A superb show has offered from the last balcony: he can admire you from a side the city with his/her tones policromi and from the other the expanse of the sea with the Vesuvius that is hacked to the horizon.
There is around the Suburb Marinaro that today it reconciles the activities of the tourist dock with that of some famous restaurants, between which Zi' Teresa and it will Bombard her. On the suburb the circles Rare " Nanteses " and " Italy " are also leaned out, two between the sporting associations that actively contribute to hold Naples to the first places of the disciplines to marinate (swimming, boating, pallanuoto, sail etc.).
The islet has suffered, in the centuries serious rehashes: in Three hundred Charles I of Angiò started, that to make easier the road, didn't hesitate to let flatten a suggestive spur. Consalvo from Cordova, to conquer him/it, let shine a mine that, in the to damage the castle seriously, provoked at the same time a landslide on the sides of the Echia mountain also destroying a chiesetta. The greatest damage was had with the construction of street Caracciolo, that had effected in 1884-1885 in the context of one of the most disastrous building speculations verify him in Naples, that of the so-called " Improvement ", to which I will not only dictate their frantic contribution the local " palazzinaris ", but even what lowered greedily from Milan and Turin.
But why does Castel of the Ovo have such a curious name? Motive is reported to a legend. It affirms that the poet Virgilio, wanting to make thing grille to the Neapolitans, had hidden you, well guarded in a cage, an endowed with magic " egg " the power to defend the city from any catastrophe. You knows certainly that almost all the Neapolitans there credettero to the point that, in 1370, to the news that the egg had gone in fragment, so much was determined that panic that the Queen Giovanna's of Angiò it was forced to declare solemnly that the egg had been replaced, that magic powers had been reestablished and that therefore the loyal subjects didn't have void from to fear.
The Chartreuse of S.Martino and the national museum

Historical signs
In the 1325 Charles duke of Calabria, child of the king Roberto of Angiò, entrusted the charge to build a Chartreuse on the hill of Sant'Elmo to Tub of Camaino, Francis de Vito and Mazzeo of Malotto. In 1336, to the death of Tub, Atanasio Primario physician and Balduccio de Mathas took over. In 1343 it climbed to the throne Giovanna I and the jobs they suffered a deceleration up to 1368 when the church had consecrated to the Virgo Maria solemnly to S. Martino and All the Saints. For the construction of the Chartreuse a game project was preferred:
to exploit the gradients of the hill tufacea mailing the complex on two amplissimes terraces, raising mighty united pillars with arcs to sixth acute in operation of buttresses. The laws of the Council Tridentino, increases them wealths and the increase of the monastic communities they determined the decisive renewal of the complex. Forerunner of the new course was the prior Severe Turboli, beginning from 1580 around. The Five hundred art finds moments of exaltation in the great cloister, the greatest example of toscanità in Southern Italy, in the Sacristy, in the monumental Lectern.
In 1623 the entry of Cosimo Fanzago marks an ulterior and definitive turn for the Baroque modernization of the monument which, thanks to the fervent and inexhaustible imagination of the teacher and his fiery regal, it also finds moments of exaltation in the same great cloister, in the monumental church with the attached and in the fourth of the prior. Painters, sculptural, plasterers, pipernieri, decorators, ricamatori, goldsmiths, argentieri, intarsiatori, carvers, mobilieri, blacksmiths, potters, trasmuteranno the austere Gothic aspect of the complex in the actual rutilante dresses manieristica and Baroque. All competed to the realization of the varied one, composed, kind and serious wealth of the monument, true school of the Baroque Neapolitan art and rococò. The shine of the places and the patrimony of art recalled the constant attention of illustrious characters Italians and foreigners, as well as of artists. Diaries, notes of trip, guides furnish the tests of consolidates his fame; flattering judgments expressed illustrious foreign travellers that, in it covers of obligation of the Grand Tour, they understood a visit to the Chartreuse and Fourth. The sequestration of the oreficeries and the silverwares, then destroyed in the Mint in Naples, effected in 1794 for order of Ferdinando IV (touched bad luck in fate to others famous ecclesiastical monuments), it was a premonitory sign of the serious damages and the losses that the complex and the patrimony of art would have suffered in the years to come. The forfeiture and the dispersion of the patrimony of art of the Chartreuse - in 1799 the Chartreuse and the monastic community were to the center of the events of the Neapolitan Revolution of that days against own wish, suffering the revenges of Ferdinando IV to his reentry in the capital city after the escape to Palermo - comprendente, besides also the original Quadreria already exposed in the Fourth of the prior effected by the French authorities in 1806, and the leaving of the monastic community they marked the sunset of the complex. Suppressed the monastic order with the law of June 22 nd 1866, the Chartreuse, finally it passed to the demanio of the State,; with the law of July 7 th 1866 was declared national monument. To want of Joseph Fiorelli the complex passed to the dependences of the office of the public education raising him to museum between the most ancient of the unitary State of fresh foundation, open to the public from 1866. In the innumerable environments by now the Fiorelli you void he wanted to also put a museum of " countries " " memories " in which were you introduce the history, the arts and the industries of the ancient capital and the southern kingdom. Important acquisitions and above all donations and legacies I will dictate impulse to the creation of the new museum. In fact increased and rearranged between 1898 and 1900, in this last year was inaugurated solemnly. Often party to thick jobs of restauration, either because of sismi either because of the war, the aboriginal architecture has been seriously compromised. To the wealth and the importance of the collections of art of Carthusian inheritance, to shame of the destructions and the dispersions, conspicuous harvests were added, of remarkable historical-artistic interest and documentary.
They signal you, in fact, between the collections of small " Arts ", for instance those " Bonghis ", " Vandenheuvel ", " Orilia ", " Giustiniani "," Of the Old one"; between the collections of historical " Heirlooms " those " Ricciardis ", " Savarese ", " Ruffo "; between the collections of sketches, incisions and presses those " Ferrara-Dentices ", " Tollgates ", etc.
From the Trittico of Jean Bourdichon to the Prophets of Jusepe de Ribera, from him" Adoration of the shepherds" of Guido Reni to the" Triumph of Giuditta" of Luca Giordano, from the" Busts of saints and blessed Carthusian" of Cosimo Fanzago to the" Virtue and children" of Joseph Sammartino, from Anthony's Mancini Prevetariello to the Malatiello of Vincent Gemito, to the Manger Cuciniello, to the Weapons and uniforms borboniche, etc., fragments of the life, of the customs, of the landscape, inclined up to the mitizzazione, fixed in unforgettable images, it is explored the history and the civilization of one Capital of the past.

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