Season 2020/21
Creative Instance

locations

Church of Santa Caterina da Siena

The “Pietà de’ Turchini” Centre for Early Music can boast an exceptional location: the Church of Santa Caterina da Siena. The building houses the works of important artists, an anthology of great historical significance of the culture of the second half of the 18th century. Its history begins in the seventies of the 16th century, when it housed the hospital of Santa Maria della Vittoria erected by the will of Don Giovanni d'Austria, winner of the famous battle of Lepanto, to which the hospital of San Giacomo was later annexed. In 1613 the complex was sold by the governors to the Dominican Feliciano Zuppardo, who in 1615 placed some tertiary of his order there. Thus, it was the following year, that by Pope Paul V, the cloistered convent was born. The building underwent profound changes and, today, of the 17th century church only the splendid holy-water stoups (recently restored) at the ends of the aisle  with Santa Caterina and San Domenico, attributable to the school of Cosimo Fanzago, remain. The first restoration work dates back to 1760, the year in which Ignazio Chiaiese remade the floor in cotto tile and majolica. But it was only in 1766 that the church and the monastery were radically renovated by Mario Gioffredo, who rebuilt the pronaos that serves as a perspective view to the church, frescoed in the vault by Vincenzo Diano with the representation of the Glorification of the Church (1784). Indoors, the architect Gioffredo collaborated with the painter Fedele Fischetti, who painted the Glory of St.  Catherine on the vault, The Eternal and the Evangelists in the gallery, and in the lunettes on the altars Cardinal and Theological Virtues. In the main altar, designed by Gioffredo himself, as the art historian Anthony Blunt points out, one can read the artist's classical tendencies that can be seen throughout the church. The building has a single aisle with four chapels on each side and a semicircular apse. Coherent with the expression of this academic taste is also the choice of painters, to whom the paintings on canvas that decorate the altars are attributed. Francesco De Mura, author of Sant'Agostino (first chapel on the right) and of the Madonna del Rosario (second chapel on the left), is here in a moment of extraordinary pictorial happiness, underlined by the use of chromatic materials with increasingly brighter and precious tones, due also to the contact with painters such as Corrado Giaquinto, Luca Giordano and Paolo De Matteis. Giacinto Diana is painted the Calvario (second chapel on the right), dated 1782. The work belongs to an academic phase, in which the artist uses a warm and golden chromatic material, which fades into delicate pastel shades, embellished with touches of clear and vibrant light in an "arcadia demuriana"scenario. In addition to the frescoes, Fedele Fischetti also painted the canvases with the Circumcision (third chapel on the right), the Virgin, the Magdalene and St. Catherine holding a cloth with St. Domenico Soriano and Noli me tangere (first chapel on the left). In these works of his early maturity, which take up iconographic models and formal solutions by Pompeo Batoni, the artist demonstrates the attempt to participate in the new applications of mid-century classicism. The canvas with the Mystical marriage of Saint Catherine on the high altar is by Andrea Malinconico. No less important than the great pictorial works are the testimonies of Neapolitan craftsmanship, that is to say of those decorative arts, of which there are traces in the whole Europe. Of particular value are the sumptuous marbles and the precious wooden inlays.

Church of San Rocco a Chiaia

RECREA Creative residence for ensembles, musicians and singers. An ancient little treasure chest of the sacred, in the heart of the living room of Naples. A few steps from the sea, has always been closed to most people and it is ready now to reopen its doors and relive in the name of art and culture planning, the driving force for the best young musical talents in Europe and the Mediterranean. It is the church of San Rocco in Chiaia, of 16th century origins, present in the 18th-century map of the Duke of Noja, hidden in the overlapping of recent architecture, facing the meridian axis of the Villa Comunale. Linking baroque roots and avant-garde creativity, production and training hand in hand, the Pietà de’ Turchini Centre for Early Music has developed a program intended to welcome youth groups, a polyphonic choir, a children's choir and artistic talents not only musical. Program implemented by promoting the results and projects developed among the public and supporting their circulation on national and international territory. Thus, new productions conceived in San Rocco are brought to the scene to be set sail from the banks of Partenope to other European creation centers. The goal is to accompany the public in the emotion of conceiving an idea for a concert or musical show and in its often difficult and arduous but also incredibly rewarding realization. The project intends to engage, make the public understand and discover the artistic value that a concert assumes not only for its final result but also for that process of artistic development, a synergistic encounter between different personalities, construction of materials and problems of technical realization that precede it and make it its baggage.

Gallerie d’Italia – Palazzo Zevallos Stigliano

The Zevallos palace (or also Colonna di Stigliano palace or Zevallos Stigliano palace) is a monumental palace in Naples located along via Toledo. The building houses the museum gallery of the same name, which is part of the Italian galleries owned by the Intesa Sanpaolo group. The palace was erected between 1637 and 1639 by Cosimo Fanzago at the behest of the Spanish family of the Zevallos, dukes of Ostuni, who wanted for them a noble palace on via Toledo, unable to build one on the nearby and crowded Spanish Quarters. The first owner of the building was Giovanni Zevallos (Juan de Zevallos Nicastro, Duke of Ostuni) who acquired the property in 1639 once completed the works. On his death the palace passed first to his son Francesco and then later, in 1653, it was definitively ceded to the Flemish art collector and merchant Giovanni Vandeneynden, as well as Ferdinando's father, who took a Piccolomini as his wife after he acquired the title of Marquis of Castelnuovo by the king of Spain. From this latter union two daughters were born: Giovanna, who married the prince of Sonnino, Don Giuliano Colonna, and Elisabetta, who married Don Carlo Carafa di Stigliano, Marquis of Anzi. It was with this wedding, interested by the link with two important noble families of Naples, that it changed the ownership of the building, thus attributing it in 1688 to the Colonna Stigliano family. Throughout the 17th century, the palace saw important restorations and modifications of both the interior and the main facade. The sumptuous entrance gate with the noble coats of arms executed by the Fanzago stands out from the first palace of the Zevallos. Another important commission in this period was the one entrusted to Luca Giordano, directly contacted by Giuliano Colonna, who executed a cycle of frescoes in the building to embellish the interiors. During the first half of the 19th century, due to some internal disagreements within the Colonna di Stigliano family, the building was dismembered, divided into several parts and rented to different tenants who had no connection with the noble family. Giordano's decorations were lost in this context and with them also all the prestige of the building on the whole Via Toledo which, in the meantime, saw a considerable increase in the number of noble buildings that embellished what had become the most important street in town. There were several buyers who took possession of a portion of the building: the first noble floor went to the banker Carlo Forquet; two rooms on the mezzanine floor went to Cavaliere Ottavio Piccolellis; the remaining parts, on the other hand, were put on sale only after a few years. The palace in this period saw once again its architecture change strongly, thanks to the neoclassical interventions of Guglielmo Turi. The most important part of the building, now open to the public, was acquired by the Forquets, who wanted an important cycle of decorations and stuccoes for their new apartment to embellish the main staircase and the rooms on the first floor. On this occasion, Gennaro Maldarelli and Giuseppe Cammarano were called to work, both very active in those years in the decorations of the noble palaces of the city, including at Villa Pignatelli and the Royal Palace. At the end of the 19th century, the Forquets' share was purchased by the Banca Commerciale Italiana and the remaining parts were taken no earlier than 1920. On this date, the building returned to being, after almost a century, a single palace. On this occasion the architect Luigi Platania was commissioned to adapt the bulding to the new intended use; in fact, the closing of the internal courtyard dates back to these works with the creation of the large hall on the ground floor. On the main floor of the building, one of the three art galleries belonging to the banking group has been set up since 2007, called galleries of Italy, which has about 120 pieces including paintings and sculptures. The gate of Cosimo Fanzago is majestic, typical of Neapolitan architecture, as soon as you pass it, is visible on the right another large noble coat of arms of the Colonna family with a short marble engraving dedicated to them: the shield is the same as that placed above the main gate, therefore suggesting that these two parts were only added at a later time. Immediately after the entrance is the large central hall by Luigi Platania, in eclectic style, obtained from a previous courtyard in piperno deriving from the original Fanzaghian project. On its walls there are some mural paintings by Ezechiele Guardascione; the roof is through a decorated glazed skylight, while the monumental grand staircase, located on the right, leads to the upper floor and is decorated with 19th-century large lamps and golden stuccoes. On the vault is an Apotheosis of Sappho by Giuseppe Cammarano signed and dated 1832. The walls, colored with a moss green background, are instead decorated in a neoclassical style by Gennaro Maldarelli. After the monumental grand staircase, the halls that make up the main floor open in suquence. Among these is that of the Amorini, decorated in the vault with decorations from the late 19th-century; the Stucchi hall, decorated with neoclassical elements on the walls; the Uccelli hall, also decorated in the vault with 19th-century animal and floral motifs from which it takes its name; the Pompeiana hall follows, which takes its name from the classical motifs of the tempera decorations that characterize the vault; and finally the Fedeltà hall, so called because of the pictorial representation of virtue on the vault, which features works by Cammarano and Maldarelli in the decorative elements. Inside these halls the museum galleries of the same name are housed, which include 120 works including paintings, drawings and sculptures belonging to the collections of the Italian galleries owned by the Intesa Sanpaolo group. The pieces making up the Galleries of Palazzo Zevallos are exhibited in the halls of the main floor with chronological criteria. These consist of paintings ranging from the Neapolitan 17th-century to those of the 19th-century belonging to the school of Posillipo and Resina, up to the sculptures and drawings in pencil and charcoal by Vincenzo Gemito executed at the turn of the 19th and 20th centuries, to which an entire hall was dedicated. Among the most important pieces in the collection is Caravaggio's last work, the "Martirio di sant'Orsola", from 1610.

Santa Maria Incoronatella Church of Pietà dei Turchini

The construction of the church of the Pietà dei Turchini dates back to the same period in which the homonymous conservatory was built. By 1595 the works had already been completed in an area that was, among other things, rather small. From the beginning, the sacred building consisted only of the central aisle, at the sides of which were the ten chapels that can still be seen today. Compared to the current form, however, it lacked the transept and the dome: to build them and enlarge the church, the governors of the conservatory raised a fund with the help of generous benefactors, including the well-known Dutch merchant-banker Gaspar Roomer. The expansion of the church involved the purchase of three apartments and a land that were located in the street of San Bartolomeo, close to the original apse. 3280 ducats were spent just for the purchase, which was followed in 1633 by the demolition works, to make room for the walls of the transept. The works ended in 1639, under the guidance of Felice di Marino. The iron works were entrusted to Diego Pacifico and Giovan Battista Vinaccia, while the glass was commissioned to Carlo Armenante. The dome underwent multiple static restoration interventions. Some documents attest that in 1674, master Giovan Jacopo di Marino, under the direction of the royal engineer Luise Naclerio, reinforced the entire structure. Then in 1688, following the terrible earthquake that damaged many civil and religious buildings, an iron circle was placed to hold the dome. Important renovations of the entire temple took place in 1725 following the appraisals of the engineers Filippo Marinelli, Giuseppe Stendardo and Cristoforo Sion, who had highlighted the static precariousness of the sacred building. The structural works lasted a long time, also because in 1723 a new earthquake caused serious damage to the dome, which was repaired the following year. In 1739 the laying of the floor was assigned to the Neapolitan tilemaker Donato Massa and to the marble worker Carlo Dellifranci. Between 1769 and 1770, the Neapolitan engineer Bartolomeo Vecchione was entrusted with the design and direction of the works for the construction of an atrium in front of the church, now gone, but depicted in the plan of Duke Carafa di Noja (1775). Vecchione himself took care of the reconstruction of the facade. Inside, to the right of the entrance, is the 18th-century wooden pulpit, identifiable with the one designed by Riccardo Du Chaliot. The visit of the church complex will now proceed in a clockwise direction, starting from the left aisle: Chapel n. 1. The patronage of the Chapel, so named for a painting that adorned the lost altar and also known as the chapel of the Agony of St. Joseph, belonged to Giuseppe Della Mura since 1759. The altar, in polychrome marble, dated 1759 on the table, is the work of the marble worker Francesco Raguzzini. On the altar there is an ancon with rich wooden carpentry, with a canvas by Paolo De Matteis in the center depicting the St. Joseph’s Passage, formerly belonging to the Della Mura family. The cymatium with the Everlasting Father is attributed to the late-mannerist painter Pompeo Landulfo. On the walls there are paintings by Domenico Fiasella from Sarzana, in storage since 1980, which previously were in the nearby church of San Giorgio dei Genovesi. On the left, the Madonna in glory with the view of Genoa, on the right the painting by Giovanni Francesco Romanelli depicting the Blessed Tolomei healing a possessed woman. On the pillar on the left, on a gravestone, an inscription and on the walls two epigraphs. Chapel n. 2 The altar, from the 19th-century, with a simple design, is towerd over by a wooden crucifix dating back to the second half of the 17th century. On the cornices of the tympanum there are two putti in stucco that hold, one the chalice, the other the crown of thorns. In the round vault, there are frescoes depicting scenes from the Passion of Christ, reported by the sources to Onofrio de Lione. On the walls, two paintings by an unknown artist close to Andrea Vaccaro: on the left the Oration in the garden, on the right the Flagellation. Of particular note are the two sepulchral monuments of the Soria de Morales, patrons of the chapel. On the left, the cenotaph of Diego Soria, Marquis of Crispano, with above his own bust, a documented work by Pietro Ghetti from Carrara; on the right the tombstone of Diego senior, dated 1641. The monuments are completed by two epigraphs. Chapel n. 3 The chapel was dedicated to San Vincenzo in 1621 by the Marquis of Collenise of the De Ponte family. The altar, in polychrome marble, is the work of Carlo Dellifranci. On it the large panel of the Annunciation by Belisario Corenzio, with a wooden frame with floral motifs. On the walls and on the archivolt you can see a cycle of frescoes, with Stories of the Virgin also attributable to Giovanni Balducci: at the bottom left, the Birth of the Virgin and at the top the Visitation; on the right, the Presentation of Jesus in the temple and the Presentation of Mary in the temple. At the center of the vault there is the Assumption of the Virgin. On the left wall is an abraded marble coat of arms, accompanied by an inscription. On the opposite wall is placed, in the center of an inscription, the relief bust of Ascanio Auriemma, attributable to a master from the circle of Giulio Mencaglia. Chapel n. 4 In 1642 the chapel, formerly owned by the rector of the church Giuseppe Incarnato, was sold to Isabella d'Aquino. The patronage later passed to the Ferri family, as evidenced by the inscription on the tombstone in the center of the floor, bearing the noble coat of arms: a Samnite shield with a tree log having an anvil at the top on which two doves with a cape in their claws face eachother. On the 18th-century altar by Dellifranci, there is a 17th-century canvas, by an unknown maker, depicting San Nicola of Bari. The walls contain frescoes with the Stories of the Saint executed by Agostino Beltrano in 1641: on the left, the Contemplation of the urn with the remains of San Nicola, and a tondo with San Nicola healing a cripple; in the vault San Nicola in glory; on the right San Nicola distributing Communion, and the Institution of the Eucharist. Chapel n. 5 Formerly owned by the congregation of the Oratorio dei Banchi, in 1641 the chapel was donated to the church together with Filippo Vitale's Guardian Angel, still present on the altar. Later the patronage passed to the Cavalcanti of the Corriere Maggiore Office and finally to the Marinetti family. The altar, in polychrome marble, is dated 1778. The floor is in terracotta and majolica tiles from the late 18th century, with an epigraph in the center. Chapel of the left transept In 1780 the project and the management of the works were entrusted to the engineers Nicola del Giacomo and Emanuele Ascione. The paintings that decorate the altar were painted by Giacinto Diano in 1781: starting from the left, the Adoration of the Magi, signed, the Adoration of the Shepherds and the Presentation of Jesus in the temple. Above, the central band and the two side canvases, also by Diano, represent the Massacre of the Innocents. Below, on the doors, two canvases depicting the prophets Jeremiah and Isaiah. To the left of the large window is the Dream of St. Joseph, to the right the Flight into Egypt. Under the arch there are two paintings: in the center the Eternal Father with a choir of angels, on the right a musician angel. Main altar The balustrade that precedes the altar is a documented work by Carlo Dellifranci. The main altar was built by Giovanni Atticciati between 1770 and 1773. In the apse is the large canvas by Giacinto Diano with the Pietà. Behind the altar we also find Juan Dò's painting The Adoration of the Shepherds and in the apse the Resurrection of Christ by Paolo De Matteis. The large rectangular canvas, placed below the Pietà di Diano, represents the Invention of the Cross, painted by Giordano at the end of the 1780s. Chapel of the right transept To the right of the main altar stands the large chapel dedicated to Saint Anna, founded by the royal councilor Francesco Rocco in 1667. The marble display is the work of the Tuscan Dionisio Lazzari. In the center, on the altar, is the canvas with Saint Anna offering Mary to the Eternal by Andrea Vaccaro. On the sides two oil paintings by Giacomo Farelli: on the left the Birth of Saint Anna, dated 1671, and on the right the Death of Saint Anna. On the left side wall there is the sepulchral monument of Francesco Rocco, sculpted by Lorenzo Vaccaro in 1678. On the right you can read an inscription engraved on a marble scroll. The upper area of the chapel is occupied by paintings by Nicola Vaccaro depicting the Apparition of Saint Anna and other miraculous episodes. On the sides of the large window there are the paintings of the Neapolitan Giuseppe Mastroleo with, on the left, the Marriage of the Virgin, on the right, the San Gioacchino’s Passage. By the same master, on the side, on the left, the Expulsion of Anna from the temple, on the right the Annunciation. The under-arch houses two paintings from 1733, also by Mastroleo: a musician Angel on the left and the Assumption of the Virgin in the center. Faced on the side walls of the chapel are the coats of arms, in polychrome marble of the Rocco House: the coat of arms has three chess rooks shaped on the top. Chapel n. 6 The chapel was under the patronage of the D’Amore family. The altar, in white Carrara marble, dates back to the first half of the 20th century and carries an inscription, as well as the pyx. On the left wall the Calvary of Christ and on the right the Pietà, both paintings by Crescenzo Gamba, from San Giorgio dei Genovesi Church. On the altar a modern glass and aluminum catafalque containing a contemporary statue of Sanint Fara. Outside the chapel there is the marble baptismal font, dated 1615 on the plinth. The plate bears the name of the donor on the edge. Chapel n. 7 The chapel was given to Filippo Lantellieri in 1627. The altar was modified in the early 19th century. On the walls there are paintings by Andrea Vaccaro: the Flagellation, on the left, the Crowning with Thorns, on the right, here you can also admire two other paintings signed by Andrea Vaccaro: the Going to Calvary and Christ before Pilate. On the side walls there are two inscriptions. In this chapel was also placed the painting The Deposition by Luca Giordano. Chapel n. 8 On the altar of the chapel dominates the Trinitas Terrestris, by Battistello Caracciolo, commissioned in 1617, together with the frame, by the patrons Sebastiano and Santolo Manso. Two small canvases, almost certainly from the 17th century, are placed high up on the side walls. Below, on the left, an epigraph. On a pedestal, the papier-mâché statue  from the first half of the 19th century, depicting Saint Anthony of Padua. Chapel n. 9 The patron Leonardo Genoino, Marquis of Ortodonico in Principality of Citra, commissioned the table of the Rosary from Andrea Molinaro, still visible on the altar today. On the ceiling there is a fresco, retouched several times, depicting the Glory of San Domenico by Luca Giordano, also author of the side canvases with Saint Giacinto crossing the Boristene, on the left, and the Vision of Sanit Rose of Lima, on the right. In the center of the floor, the tombstone with the noble coat of arms: a quartered Samnite-shaped shield that alternates the two-headed eagle crowned with one arm, the so-called "destrocherio" holding six flowers; the entire heraldic composition culminates with the gated helmet crowned with five fleurons and towerd over by an imperial eagle; at the tip of the shield the cross of the order of Malta; below an inscription. Chapel n. 10 Reliable information about the chapel dates back to 1778. On the altar there is the canvas with the Virgin Mary between Saints Gennaro and Anthony of Padua by the Neapolitan Giovan Battista Rossi. On the walls, to the left, the Death of Saint Alessio from the 17th-century , by an unknown author, on the right a large canvas, from San Giorgio dei Genovesi Church, by the Cortonese Giovan Francesco Romanelli representing Blessed Bernardo Tolomei healing a possessed woman. In the chapel you can also see a dressed statue of the Immaculate Conception from 1864. On the floor there is a tombstone with an inscription. Anti-sacristy and parochial office In the anti-sacristy there is an 18th-century epigraph and a 20th-century papier-mâché crucifix. In the parochial office there is a painting of an anonymous canvas with the Education of the Virgin, perhaps from the early 20th century

Church of Santa Maria delle Anime del Purgatorio ad Arco

https://www.purgatorioadarco.it/ The church of the "pezzentelle" souls In the heart of the old town of Naples, along via dei Tribunali, is the church of Santa Maria delle Anime del Purgatorio in Arco, known to the Neapolitan people as the "de' 'e cape 'e morte" church. Crossing its doorway begins a real journey into the Neapolitan culture between art, faith, life, death. From the small and beautiful 17th century church, which houses the precious marbles and the winged skull of Dionisio Lazzari, together with masterpieces by Massimo Stanzione, Luca Giordano and Andrea Vaccaro, one descends into the ancient and grandiose hypogeum which still hosts the fascinating cult directed at anonymous human remains who become special intermediaries for invocations, prayers, requests for intercessions. A small museum set up in the spaces of the elegant sacristy completes the itinerary.

The church

This admirable 17th-century jewel was commissioned in 1616 by the laic congregation Opera Pia Purgatorio in Arco to the architect Giovan Cola di Franco, and consecrated in 1638. The structure was designed on two levels, an upper church referring to the earthly dimension and a hypogeum, cemetery area, which concretely represented Purgatory. The care of the souls in Purgatory was one of the main points of the new counter-reformed church and all the decorative scheme of the complex was designed to remind passers-by and devotee that souls awaited a prayer in intercession to be able to free themselves from the fire of Purgatory and ascend to Paradise. The façade, the decoration of the church and the Sacristy, the liturgical furnishings, everything refers to the theme of Purgatory, and also the entire iconographic program is dedicated to the theme of death through testimonies of the 17th century: the St. Joseph's Passage (1650-51 ) by Andrea Vaccaro, in the third chapel on the left, the Death or Ecstasy of Sant'Alessio, an early masterpiece (1661) by Luca Giordano, in the third chapel on the right. Splendid, in its preciousness, the canvas on the back wall, depicting the Madonna of the souls in purgatory (1638-1642), by Massimo Stanzione, overlooks the winged skull, a valuable marble sculpture by Dionisio Lazzari, now hidden by the altar; above the triumphal arch, the sequence is crowned by the classically composed scene of Sant'Anna offering the Virgin child to the Eternal Father (1670) by Giacomo Farelli, and bright thanks to the chromatic tones, in the first chapel on the left, Archangel Michael slaying the devil (1650) by Girolamo De Magistro.

Diego Aragona Pignatelli Cortes Museum

Villa Pignatelli (or also villa Acton Pignatelli) is a monunental villa in Naples located along the Riviera di Chiaia. The structure, with an adjoining park, represents one of the most significant examples of neoclassical architecture in town. Inside there are the Prince Diego Aragona Pignatelli Cortés Museum and the Carriage Museum of Villa Pignatelli. Wanted in 1826 by the baronet Sir Ferdinand Richard Acton, son of John Francis Edward Acton, the VI Baronet and  prime minister of Ferdinand I, the villa was built by Pietro Valente who was succeeded in 1830 by Guglielmo Bechi. To carry out the work it was necessary to demolish a pre-existing house belonging to the Carafa family. Valente's works were not simple, having to adapt from time to time to the precise requests of the English owner. It is no coincidence that the disputes between the two parties regarding the execution works weren't few, therefore there were about twenty-two projects presented by the Neapolitan architect in order to find an agreement with Ferdinand Richard Acton. Because of these diatribes, the internal decoration works and those of the external garden were entrusted to another person, the Tuscan Guglielmo Bechi. A few years after Acton's death, in 1841, the villa was bought by the family of German bankers, Carl Mayer von Rothschild, who lived there until 1860. The Frankfurt aristocrat commissioned the following embellishment works first to a Parisian architect and then, dissatisfied with his work, to Gaetano Genovese. The construction of the three-storey building known as the Rothschild building at the northern end of the park dates back to this phase. In 1867 the German family saw their fate linked to that of the Bourbons of Naples, who were expelled from town as a result of national unity. Therefore the villa was sold to Prince Diego Aragona Pignatelli Cortés, Duke of Monteleone. The Pignatellis were very refined aristocrats in tastes and ways, so much so that they transformed the place into a cultural meeting point between intellectuals and the Neapolitan and European high aristocracy.  With a public will of 10 September 1952, Princess Rosina, born Fici of the Dukes of Amalfi, ordered the legacy of the villa to the Italian State, through the Ministry of Education, which at the time also guaranteed the protection of cultural heritage. The Pignatellis were therefore the last owners of the villa and lived there from 1897 until 1955, year on which the donation of the structure to the Italian State was completed in order to be transformed into an apartment-museum intended to perpetuate the name of her husband and Diego Aragona Pignatelli's nephew, as well as his namesake, Prince Diego Aragona Pìgnatelli Cortés, who already died in 1930. Together with the villa, the Pignatelli family also donated what they managed to collect over the years: silver, bronzes, porcelain, enamels, crystals, an important library and about four thousand microgrooves of classical and lyric music. All these finds are now on display in the rooms that make up the villa. In 1960 the villa was opened to the public with the name of Principe Diego Aragona Cortés Museum. That same year, although inaugurated in 1975 and open to the public only in 2014, other important donations took place, mostly of carriages and related materials, among which that of the Marquis Mario d'Alessandro di Civitanova, through which the Museum of carriages of villa Pignatelli was born.

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via Santa Caterina da Siena 38, Napoli

Riviera di Chiaia 254, Napoli

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