Naples [antikvár]

Le Musée XatiojiaJ de Naples, façade principale The National Museum, Naples, Main Façade.L'histoire de cet édifice est des plus singuliereis. Le vice-roi duc d'Ossima en commença la construction, sur la colline de Santa Teresa, alors déserte, pour en faire un manege, mais il ne put l'achever parce que l'eau manquait. Ce fut le vice-roi comte de Lemos qui reprit les travaux et qui confia la construction a Do-nienico Fontana. pour en faire un Palais des FAudes (IGIG). Cette Université fonctionna jusqu'a 1777, a travers des interruptions et des recommencements, et (liovanhattista Vico, notamment, y tint des cours de 1G97 a 1701.Suivirent, de 1780 a 1820, des restaurations et des modifications, dont s'occuperent l'architecte Fuga et, ])articulierement, Schiantarelli, qui fut l'architecîte des derniers travaux d'adaptation j)our en faire un Musée. Jusqu'alors, l'édifice était composé du corps central et des deux ailes fjui se ])ornaient au rez-de-chaussée, de sorte qu'il seml)lait une cathédrale dominant deux cloîtres bas: le surhaussement de ces deux ailes était nécessaire non seulement pour mettre a disposition de nouvelles salles, mais encore pour consolider les flancs de ce corps central.ilais le Musée de Naples, jadis Musée des lîourhons, doit son origine aux précieuses collections de sculp-The building has a very unusual history. The Viceroy, Duke of Ossuna, began its construction on the hill of S. Teresa, which at that time was deserted, and intended to use it for a riding school, but he was unable to complete it on account of a faulty water supply. The work was resumed ])y Viceroy Count of Lemos, who entrusted the building to Domenico Fon-tana to be used as a Palace of Studies (1616) and, amidst various interruptions and restorations, it was a University until 1777; amongst others, Giovanbat-tista Vico taught here from 1697 to 1701.Between 1780 and 1820 restorations and alterations were eaiTied out under the guidance of the architect Fuga and particularly imder Schiantarelli, who was the architect who carried out the final work of adaptation to a museum. Hitherto the building had consisted of a (!entrai body with two wings confined to the ground fioor only, so that it gave the impression of a cathedral dominating two low cloisters; tlie raising of the two wings was not only due to the advisability of having other rooms to dispose of, but also to the necessity of consolidating the sides of the central body.]3ut tlie National Museum of Naples owes its origin to the })recious collections of sculpture and painting that