To the Vomero close to the Castel Sant'Elmo - Tel +39 081 5781769
In the homonym Chartreuse, ancient convent of origin angioina, with gardens from which extraordinary panoramic foreshortenings are admired. It's understands the sections: Church and attached environments, Presepiale, Fourth of the Prior, Images and memories of the City.
Signs Historical
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 fame; flattering judgments expressed illustrious foreign travellers that, in it covers 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 his/her 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 he was declared national monument.
To want of Joseph Fiorelli the complex passed to the dependences of the office of the public education raising 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. ,frammenti 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.
Visit: from Tuesday to Friday 08:30 a.m.-7:30 p.m., Saturday and Domenica
09:30 a.m.-7:30 p.m.;
Closed on Mondays, Entry € 5,79
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wait you and Good Fun with ALENAPOLI TOUR
Office: +39.081.283247 - Mobile: +39.349.5307545