The building that entertains the museum is the fifteenth-century Building Chest of drawers. The beautiful construction Renaissance runs the risk to be dejected for urbanistic demands (the nineteenth-century amplification of street Cathedral), but thanks to the insistences of the September ones and Charles Tito Dalbono, it was gotten off in his single elements that winds more meters were reassembled then before where it now finds.
Originally to a plain solo, the building in 1292 belonged to the vicar of Charles II of Angiò, Riccardo Comò of drawers of Albignano; made to magnify in 1454 from Giovanni and Fabio Comò of drawers it was, in 1490 to Francis's work from Settignano, Ziattino of Benozzo and Domenico Felice from Florence, definitely brought to that Florentine form, that introduces still. Introduces a harmonic and
refined Tuscan bugnato in the façade and elegant windows of piperno.
Alfonso in Aragon contributed to the amplification with the acquisition of a garden close to the building and for gratitude the Chest of drawers they added on the façade the coat of arms aragonese to the really. Also Lucrezia of Alagno, the great love of Alfonso,vi lived then for a few times, with the decline of the fortunes aragonesi, also that of the Chest of drawers was jeopardized to the point that the children of Angel Chest of drawers, courtier of Alfonso, vendettero the building to the canons of the Cathedral. In Five hundred it belonged to the family de Bottis that if sipped soon for the due fear to inexplicable phenomenons of " presences " that the popolanis attributed to the " munaciello " (the eccentric goblin, and not always hostile, that bothered the inhabitants of the old Neapolitan abodes). The building had then different owners and became even center of a distillery of beer to work of a some Anthony Mennel in 1815. Ancient dignity returned to the building in 1863 when it was town center and then pretura of the section Pendino.
Currently, as we said before, it is center of the civic Museum Gaetano Filangieri: I give Filangieri to the city of Naples of the harvests of the prince to work of nephew Gaetano Filangieri Junior. Unfortunately big part of the harvests has gone destroyed in the last war in the fire gotten in 1944 by a German attack to St. Paul Beautiful Situated where the harvests are also been transported for great safety together with the most precious part of the file of State it ill-omenedly lost in the fire.
You rearrange the harvests escaped to the destruction, the museum has become wealthy of following donations as that of the Perrone regarding the porcelains.
Currently it picks up paintings, sculptures, remarkable collections of applied art (weapons, maioliche, porcelains - embroideries and laces), books and interesting documents of file.
During the 1980 earthquake it was notably damaged but, soon restored, rearranged and organized for guaranteeing a great legibility of the exposed objects has not lost anything of the charm and the heat of his native preparation that constitutes an extremely interesting historical testimony.
The works
The artistic patrimony of the museum is constituted today from more than three thousand objects organized according to criterions tipologici, chronological or, often, simply, aesthetical.
The harvests document as so much the Italian art that foreigner.
Within the showcases, the closets, the walls or on the floor they find place: you arm oriental and western from the XV to the XIX century; paintings and sculptures from the XIV to the XIX century; maioliche and porcelains of the most important Italian and European manufactures; coins, shepherds and other spendidi objects of applied art.
They complete the museum an elegant and rich library and an important historical file.
Integral part of the Museum is the splendid Villa Livia to the Park Grifeo, house-museum, place of temporary exposures, conferences and concerts and center of the International Center of studies Numismatici.
The floors of the Museum are initialed M.S.O. whose meant it is: "Museum Schools Shops", they testify the concept of museum, what laboratory, place of search and experimentation on the field of the applied arts.
In this spirit, different cloths and thirst they represent the manufactures of S.Leucio.
You arm oriental: Chinese, shutters, Arabs, Moroccan they detach for their stylistic characteristics and tipologiche.
You shoot to fuse, ceremonial clubs, swords and weapons in the auction they surprise for the elegant invoice, for the carvings, for the end engraving.
Horse utensils, swords, helmets and even a colubrina of origin aragonese.
An elegant helical staircase of 40 steps in piperno, decorated by marmoreal coats of arms, torcieri and weapons it conducts to the room Agatha, on the run, statues and armors of valuable invoice.
The architecture, the mosaics, the marvelous chests skylight, the gallery in carved wood, the library, racks and showcases they form an all harmonic where they find center rich collections.
Rich the pinacoteca and of great interest the paintings, among which: S. Agata of the Vaccaro, "The triumph of Galatea and The banquet of Baldassarre" of Luca Giordano, " Saint " Prassede of the Luini and "it makes a will her of S.Giovanni Battista" of the Ribera.
Twenty-four carved showcases, on the hanging passage, they allow to admire a great deal of masterpieces of porcelain, coming from Meissen, Zurigo, Sevres, Vienna and, naturally, from the Real Fabbrica of Capodimonte.
Flat sixteenth-century of maiolica, precious embroideries and Sicilian laces of the XVI century and 600 and 700 liturgical hangings complete the exposure.
In the severe bookstore that counts 15.000 volumes, a notable harvest of manuscripts and 150 parchments it is preserved, of which some go up again to the epoch of Giovanni of Angiò.
E' also preserved, among over diecimila coins, the collection Ox-Mastroianni, particularly esteemed for his homogeneity.
To the Museum Filangieri, is possible to rediscover meaningful fragments of the Neapolitan reality of the end of last century and the passage of an unusual collection from the use deprived to that public.
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