Correale Museum

Correale Museum

The Correale Museum is housed in the Villa, an eighteenth century building surrounded by a garden of citrus, with a terrace overlooking the sea, it belonged to the family Correale of Terranova. Noble family that lived in 800 between Naples and Sorrento, with large cultural and social interests. The last descendants Alfredo and Pompeo, stipulated that to their death in the family art collections constitute a unique example in the villa of family. Open to the public since 1924, collects into 24 rooms on three floors, more than 10,000 exhibits, with furniture, ceramics, clocks, figurines of the traditional Neapolitan Christmas crib and wooden objects of traditional Sorrentine wood processing Tarsia. To this must be added the important Library, where they kept the original writings of the poet Torquato Tasso.

The museum, established by the archaeologist Amedeo Maiuri “the most beautiful museum of Italian province”,
presents a unified route not only to the celebration of great artists, but also the knowledge of the past history, fashion and curiosity through the ages.
These include an important collection of porcelain from Capodimonte and European eighteenth century. Particularly significant is the collection of paintings by painters of the ‘700 and’ 800, with Flemish paintings, landscapes by foreign artists of the so-called School of Posillipo, with works by Teodoro Duclère, Giacinto Gigante, Pitloo, Silvester Shchedrin,
Collection quests’
The ground floor of the property is committed by archaeological finds from excavations in Sorrento and the Sorrento Peninsula: vases and furnishings from the ninth to the sixth century. BC, Roman marble sarcophagi and late Roman capitals.
In the last period the Correale Museum has been enriched by an important collection of fans dating from the eighteenth century to the first half of the XX, which embraces the production of various nationalities and outlines a wide panorama of styles and range of techniques in a span of nearly three centuries.

Correale Museum, Via Correale, 50, Sorrento – tel. 081/8781846

Inputs Tickets:

8 Euro,

5 Euro reduced (groups of at least 20 pp),

Euro 3 scuolaresche

Opening times:

from April 1st to October 31st:
Mar. / sat. 9:30 to 13:30
Sun 9:30 to 13:30
from November 1 March 31
9:30 to 13:30
Monday CLOSED

Thursday and Sunday free admission for residents

MUSEUM OF NEWFOUNDLAND CORREALE
by Educational itinerary Laura Cuomo

GROUND FLOOR
The fitting tribute to the memory of the founders of the museum with the first room dedicated to them, the section of Sorrento tarsia and interesting collection of Roman and medieval artifacts, are in the halls of ground floor, a tribute to the city of Sorrento, its history, its traditions, its famous people.

ROOM 1
The oil portraits of Pompeo and Alfredo Correale with his wife, Angelica de ‘Medici Princess Ottajano respectively are works by Augusto Antonio Moriani and Luca Postiglione; is exposed to the right of the family tree of the family Correale: the slave turkish therein portrait, to the noble fam

ily service, he was responsible for the terrible leggenda- -according to the Saracen invasion that devastated Sorrento in 1558.
The display on the left of ‘entry contains two precious manuscripts by Torquato Tasso and old editions of the Gerusalemme Liberata.
The room is furnished with antiques such as small cabinet-chest on Bambocci, Genoese inspiration (seventeenth century) and the pair of Neapolitan drawers with side flaps (the first quarter of the eighteenth century), inlaid with floral motifs of Flemish style.

In the small family chapel, a massive cabinet with two bodies, veneered walnut (Naples, XVIII century) acquitted the sacred altar function; the cabinet inlaid with ivory Moorish style is a southern manufacturing work of the seventeenth century. Of particular artistic importance is the panel p

ainting The Annunciation, probably the Flemish school (XV century).

ROOM 2
In this room has exposed the Sorrento tarsia collection, donated to the Correale Museum in 1937 by Cavaliere Silvio Salvatore Gargiulo.
In Sorrento, inlay art dates from the mid nineteenth century, and became famous thanks to

the skill of artisans such Damora Antonino, Luigi Gargiulo and Michele Grandville. The executive technique provided for the assembly of small pieces of wood, shaped and cut according to the contours of the desired design; initially the chiaroscuro effects were obtained with the combination of natural wood such as rose wood, walnut, orange, maple and tuja, while the movable structure was in olive or chestnut. To establish and perfect the design, the manually performed small incisions cabinet makers that filled her with dark grout. This initial technique was later replaced by the French method of “ricacciatura”, or the use of china ink to emphasize the design.
Another technique used was that of marquetry “mosaic”, inspired opus tasselatum Roman tradition. The tiny wooden tiles were made by placing vertically long wooden rods running, of any design, only one particular at a time. After the first transverse cut is passed, in the horizontal run with the planer, from which were obtained the thick strips or chips, to be applied on the mobile.
The mosaic inlay technique was used by Giuseppe Gargiulo to achieve, in 1910, the precious work bureau (a corner of the room), with a desk functions with lectern, toilet, sewing box and chessboard.
Veritable pictorial effects were achieved by the execution of Sorrento marquetry scenes from classical mythology, or the representation of everyday scenes or figures in folk costumes, whose vitality is well represented in the collection of boxes and small chests, exposed Featured.
The rare collection of cameras (a aletoscopio, a megaletoscopio and two cameras from the late nineteenth studio) made by the famous Venetian photographer Carlo Ponti, one of the first in Italy to try their hand at playing real images, was donated in 1999 to the Museum by the collector Ghester Sartorius.
The oil paintings by Antonio Solari, Cappuro Antonio and Antonio Fiorentino (twentieth century) are taken from the eighteenth century prints, and portray picturesque views of nineteenth-century Sorrento.
The exhibits hosted in the following rooms, some of which are owned by the town of Sorrento, evidenced by the pre – Roman origins, Roman and then medieval the historical center of Sorrento and the surrounding areas (from Vico Equense Piano di Sorrento). Most of the fragments of inscriptions, sculptures, sarcophagi and capitals now on display in these rooms were placed, before the establishment of the Correale Museum, in the bishop and Sedil Dominova Sorrento.
Archaeological Section

ROOM 3
Among the most interesting finds include the so-called base of Augustus, probably built to celebrate the cult of the emperor (44 BC – 14 AD). This fragmentary monument bears, on the survivors sides, reliefs that represent key moments of the political-religious program of Augustus. On the main side of the goddess Vesta is accompanied by a procession of four priestesses who proceed to her seat on the throne; at the center, in the missing space (reconstructed) there had to be Augustus sacrificing; The scene takes place in the porch of the house of Augustus on the Palatine Hill, in front of the round temple dedicated to the goddess.
Of great interest is the fragmentary statue of Pharaoh Seti I (XIII century a. C.), portrait kneeling as a bidder, arrived in Sorrento in the Augustan period, as a spoil of war.
In the window they display artifacts from the ancient necropolis of the Sorrento peninsula. From the period Eneolithic (III millennium BC copper slurry and dagger pitcher) to the archaic and classical periods (VI – V century BC.: Bucchero, ceramic Attic black and red figures figures), and the Hellenistic period (IV – II sec . BC: Italiot pottery with red figures and black-painted pottery bell) to the Roman period. Continuing, the two original Greek sculptures (draped female figures) depicting the goddess Selene and Artemis of horse on hind: it presents the basic inscription in Doric dialect.

ROOM 4
Roman epigraphs from pubbici buildings and suburban necropolis of Sorrento. The great Corinthian and Ionic capitals come from the city’s monuments and Roman villas on the coast. It should be noted a marble base dedicated to Fausta, wife of Emperor Constantine and the inscription that recalls the restoration of public dell’orologium, damaged by earthquakes and rebuilt by Emperor Titus after the eruption of 79 AD. The Roman sarcophagi, dating between the second and sixth centuries. AD, were almost all reused or as Christian burials or as fountains.

ROOM 5
Medieval Section.
Plutei ambos and the IX – XII century AD. These marble reliefs come almost all the ancient Sorrento Cathedral. The figurative motifs are typical of Persian art: that of the winged horse and Griffin combined into a single living being the dual symbolism of heaven and earth, and becomes the link between natural reality and transcendental reality.
Formelle, parapets and pillars were the sculptural decoration of several monuments (the pulpit, ambo, presbytery fence) medieval religious building that has now disappeared. The capitals in this room, as well as the cathedral, come from cloisters and medieval windows.

STAIRCASE
The staircase with carved balustrades piperno, was designed by the Royal engineer Giovanni Battista Nauclerio which were entrusted, by Giovan Battista Correale in 1721, the extension works and landscaping of existing home palaziata. The tombstones, coats of arms, inscriptions and marble busts are dating from the sixteenth to the nineteenth century.

FIRST FLOOR
Through these halls leads a comprehensive overview of painting and decorative arts Neapolitan from the sixteenth to the eighteenth century, through the short period Austrian viceroy until the establishment of the independent kingdom of Naples and Sicily, in 1735.

ROOM 6
In this room there are paintings of the sixteenth century, the works of painters associated with the Counter religious views of the time. Particularly important are the four canvases with Heads of Apostles, Giovanni Lanfranco and La Maddalena, attributed to Artemisia Gentileschi (it may be a self-portrait of the artist in old age).
The moneyer veneered in turtle, sought typical Neapolitan production of the seventeenth century, it has an unusual red hue, obtained by superimposing the most transparent parts of the marine animal carapace to a painting bottom. The coffered torque of the seventeenth century, is ebonized wood with ivory inlay. On a coffee table it is characterized by a top made of marble and semi-precious stones committed.

ROOM 7
The paintings The blessing of Isaac and The Supper at Emmaus are Alfonso Rodriguez.
The pair of gilded consoles with mirrors, are typical of the Neapolitan production of the eighteenth century. The cabinet Travel (on support with twisted legs) ebonized wood with ivory inlay work is a Neapolitan architect of the seventeenth century: very special engraving of tiles applied on the drawers, with representations inspired by Aesop’s Fables. At the center of the carved walnut table room, Florentine manufacture, presents a valuable plan in plaster painted.
The exposed porcelain (rare and indispensable objects “status symbol” of the eighteenth-century bourgeoisie) are Chinese, eighteenth century.

ROOM 8
On display are works by seventeenth-century Neapolitan painters, influenced by the new vision realistico- luminist Michelangelo Merisi da Caravaggio: adhere to the lesson of Caravaggio Battistello Caracciolo, here represented by the sketch of St. Ignatius in Glory and the works of the Jesuit Fathers and Andrea Vaccaro with ‘ Deposition impressive.
Domenico Gargiulo (Micco Spadaro), faithful “reporter” Neapolitan salient historical events and daily newspapers of the time, is the author of two paintings to the exhibition and Porto at night.
The furnishings are also dating to the seventeenth century. The veneer minters couple turtle, made to contain collectibles, denotes that time the passion for this kind of collection: what explains the particular structure of the cabinet,

ROOM 9
The paintings of landscapes with ruins of Ascanio Luciani and Gennaro Greek characterize the eighteenth century pictorial production with views of “architectural whims” of classical buildings and ruins.
Notable the two preparatory sketches for the decoration of ceilings, made by Nicola Maria Rossi and Giacomo del Po and intended for a cultured and aristocratic patrons.
The coffered torque from this move and inlaid line with large rosettes, are Neapolitan craftsman active around the middle of the eighteenth century. The Chinese porcelain dating from the same period of drawers.

ROOM 10
The little copper oil painting, Madonna and Child, is the work of Francesco de Mura, leading figures in the art scene of the eighteenth century Neapolitan. Interesting three versions of the Rest on the Flight into Egypt, offered by Lorenzo De Caro, Giacinto Diano and Philip Mower.
The veneered chest of drawers in rosewood, inlaid with friezes and gilded bronze and precious floor in red and yellow jasper, is eighteenth-century Neapolitan workmanship: the refined workmanship suggests an aristocratic patrons, the cultured and refined taste. Equally rare Venetian trumeau walnut with small molding and engraved glass. To complete the stylish lounge collections of Chinese porcelain of the eighteenth century.

ROOM 11
The hall houses the gallery of portraits of the ancestors of the Correale family, related to the noble family of Colonna di Stigliano.
The white lacquered console with carved ornaments and gilded mirror frames and lintels with paintings of still lifes and scenes are classic Neapolitan furniture in vogue in the last quarter of the eighteenth century, and represent what is left of the woodwork from two different homes in Correale properties.

ROOM 12
Said Hall of Biribisso, from the precious name, how unusual painting of the game “of even or the odd” exhibited on the stand.
The Biribisso game, which could allow for huge winnings, since 1500 captivated a wide audience, of all Italian cities and walks of life: its highly gambling nature and unbridled passion with which it was played, meant that by 1735, He was banned from every house and square. (Little, however, earned him the prohibitive laws because everywhere you went, secretly, to play it!)
The game board, the refined execution offered to us by Francesco Celebrate is divided into seventy numbered boxes, framed by gilded floral sprays, depicting miniature still lifes, animals masks of commedia dell’arte and coats of arms.
The mantelpieces couple, have side mirrors and, in the central part, paintings made around 1727 by Nicola Maria Rossi, favorite painter by the Austrian Viceroy, Raimondo d’Harrach. The two corner cupboards in lacquered wood with green depictions of oriental figures, are Neapolitan, half of the eighteenth century, such as the living room with backrests from characteristic motif “lyre”.

ROOM 13
The room houses paintings by Flemish painters and furnishings prevailing English manufacture.
Of particular importance, even for a historical documentary value it is the painting on wood interior of Antwerp Cathedral, designed by Abel Grimmer in 1584. For Anton Van Dyck has attributed the painting Study of heads, while the park with figures of Jan Van Kassel, It presents connotations typically Flemish well made by botanists and nature minute details: Vertumno, gardens deity is depicted in the form of old woman, one of the many transformations of the god in an attempt to seduce the nymph Pomona.
Mobile two bodies and the chairs with painted decorations chinoiseries, are British, dating to 1710. Unusual your coffee table with turtle floor, covered with “grillage” in gilded bronze.

SECOND FLOOR
The rooms on the second floor there are valuable collections of paintings dead nature of the Neapolitan school and landscapes of the Posillipo School, in addition to collections of decorative arts, from the seventeenth to the nineteenth century.
Just at the entrance to an elegant furniture from the eighteenth century pharmacy it has been used to expose a collection of French eighteenth-century majolica.

ROOM 14
Impressive paintings Still Life with flowers and parrots by Giovan Battista and Francesco Solimena here engaged in unusual collaboration, and the hunting scene with David De Konich dogs. Still Ruoppolo of the delicious canvas The cornicella grapes, fruit – all’epoca- axes widespread in sorrentini gardens.
The pair of tables from the late baroque wall, with legs carved anthropomorphic feature elegant floors decorated with floral motifs, made of plaster, marble committed and precious stones; from the same period the two Roman console, richly carved and gilded.

ROOM 15
Still Life Aniello Ascione: the four “pendant” canvases with fauns, flowers and fruits, representing the cycle of the four seasons.
At the center of the room, on the desk refined Neapolitan eighteenth century stands a cabinet luggage, with panels in Chinese lacquer.

ROOM 16
The room houses paintings by Andrea Belvedere, refined “Fiorante” Neapolitan, versatile performer of works sometimes spectacular, sometimes essential, as evidenced by the works exhibited here.
Of fine workmanship the pair of center tables (in this case become Wall) with herms to bust sculpted and full relief and plans for turtle, the work of Neapolitan cabinet maker, around 1715. Console Neapolitan eighteenth century.

ROOM 17
Still Life Neapolitan and Roman school of the seventeenth century they mention the two paintings by garlands of flowers and sacred figures, made with the complex technique of under glass.
The pair of dark wood trumeau with turtle threads is Neapolitan architect of the eighteenth century.
In the window space is a valuable collection of eighteenth century and the nineteenth century Bohemian crystal and Murano glass. Of Venetian production are the brittle glasses decorated with flaps, the double liturgical glass, the glass bucket ritortile, the cups and backsplashes, all made with the sophisticated technique of blown glass.
The “blow” consists in blowing the molten glass paste by means of a blow pipe provided with a hole in its interior: after giving birth to a pasta shape the almost cylindrical, the craftsman starts to blow through the barrel, so as to set the shape material desired. Accomplished the modeling process the glass object is placed in the baking ovens,
Different chemical composition characterizes the Bohemian glass production that, rich in calcium, for hardness and strength lent itself to being carved and worked “to the grindstone” as documented by the bottles, the cups and glasses, decorated with friezes in pure gold, exposed in bottom of the window.

ROOM 18
This room houses a collection of paintings that well document the evolution of the “landscape painting” between the seventeenth and nineteenth centuries: the setting even classical and academic, typical of Simon Denis Landscapes and Gaspar Dughet, you switch to the new design to view “live” by Frans Vervolet, clearly documented by the painting of the Greek Torre.
The case displays an elegant served in tableware, by the Del Vecchio manufacturing: the countless views of the Kingdom of the eighteenth century Naples represented therein and unusual coloring that leaves in view of the yellow clay, make this collection a rare document historical and artistic.

ROOM 19
Dedicated to ottocentisti painters of the School of Posillipo.
The intellectual “fashion” of the European Grand Tour pushed, between the seventeenth and nineteenth centuries, many foreign travelers to visit Italy, among them the Dutch painter Anton Smink Pitloo, fascinated by the beauty of the area and captured by the warmth of the Mediterranean light , she began a new painting movement called the School of Posillipo. Disciples and successors were Pitloo Teodoro Duclère, Filippo Palizzi, Raffaele Carelli and Michele Cammarano.
The paintings on display in this room are works of the artists mentioned above: the representation of nature narrated in an increasingly analytical and real, the beauty of the places portraits (mostly the special bright colors views of Campania and Sicily) make these works of true masterpieces.
The coffered couple with ornaments ebony and mother of pearl inlays is Neapolitan eighteenth century; Neapolitan author of semicircular well as coffered elegant couple, with inlay “monogram” in different woods.

ROOM 20
The room is dedicated to the work of Giacinto Gigante. The great vocation as a watercolorist and very personal way of painting with rapid touches of color are the Giant’s most authoritative interpreter of the Neapolitan School of Posillipo.
The pair of drawers, Neapolitan cabinetmaker of the eighteenth century, have – at the center of the two drawers-oval inlaid with musical instruments; handles enclose elegant miniatures in enamel.
The sedan in studded leather, used by Angelica de ‘Medici at the beginning of 1900, offers an interesting testimony of costume, as well as the uniforms of waitresses secret of the Pope and Ambassador.

ROOM 21
houses an interesting collection of clocks and watches Italian and European, between the eighteenth and nineteenth centuries, whose shapes are made more precious by the use of tortoiseshell, mother of pearl, porcelain, lacquer and finely chiseled bronzes. Many of these still perfectly functional watches, are equipped with chimes with melodious ringtones.
The exhibit showcases rare and unusual collections donated to the Museum by the Countess Carignani di Novoli and by archaeologist Paola Zancani Montuoro.
Along the staircase and into the room 22 an exhaustive description of Castelli majolica documents the activities of the most famous dynasties of Abruzzo majolica, Grue and Gentile.
The small collection of eighteenth century crib figures testifies to the Neapolitan passion for the representation of the birth of Jesus Christ, the “shepherds” that animated the crib were usually consist of a dummy wire and hemp, with arts and terracotta heads or carved wood. The collection includes pastors Correale made by the most famous artists active in Naples in the ‘700, such as Matteo Bottiglieri, Francesco celebrate, Moscow Lorenzo and Giuseppe Sammartino.

THIRD FLOOR
The top floor of the museum houses an impressive collection of European porcelain of the eighteenth century Italian majolica from the same era.
The story for the start of production of porcelain in Europe can boast perhaps, in the path of the decorative arts, the most fascinating stories: in fact, it took centuries of research and wealth of great kings and princes of Europe to be able to get in the West, a like porcelain production for quality and consistency in the one coming – cost elevatissimi- from China and Japan.
The dream of owning a porcelain factory, considered a European sovereign “necessary completion of glory and magnificence,” he realized, finally, in 1710 in Meissen (Germany) due to expensive research commissioned and funded by Frederick Augustus of Saxony. But a leak made known the formula for the production of porcelain and the secret manufacturing processes, strenuously defended by the German sovereign, quickly spread in Europe. Thus were born other porcelain factories, always sponsored and financed by kings and rulers, as in the case of the Vienna manufactory of Nimphenburg (Monaco) and Sèvres, the latter of Louis XV properties.
In 1738 Charles of Bourbon married the granddaughter of Frederick Augustus of Saxony, Maria Amalia, and driven by the desire to emulate his father in law began in the laboratory place in the Palace of Capodimonte gardens the first experiments to create the dough. The Neapolitan production soon became famous, destined to be timeless and celebrated everywhere.
The porcelain dish began to decline with the birth of the first “factory” of porcelain, in England, in the late 1700s: the porcelain, until then considered white gold, lost its connotation of charm and rarity to become put to use common.
The eighteenth-century European porcelain manufactories are widely presented here: the German production of Meissen is documented by objects sought and inspired by unusual figures, in the first phase of production, a taste of oriental matrix. The international manufactures of Vienna, Sèvres, Nymphenburg, Frankenthal, Berlin, Bow: tea sets, snuff boxes, perfume bottles, coolers and stick handles to testify to the collector’s passion exploded with the introduction of porcelain, which was opposed to the use of majolica.
The remarkable collection of Italian production that includes the Venetian manufacturers of Vezzi, Florentine of shower and the very famous Bourbons of Capodimonte and the Royal Manufacture of King Ferdinand: of particular interest to the inspired character masks of the Commedia dell’arte and the Neapolitan figurines sellers represented, also thanks to the particular ductility of the soft paste, with exceptional liveliness and freshness.
Finest service and tableware decorated with still life, Neapolitan views and Pompeian scenes, taken from the neoclassical style in vogue in ferdinandea era.

GARDEN
The visit to the Correale Museum continues with the walk to the Villa Park: The path is divided, in the part adjacent to the rear facade, in a series of flower beds, where the presence of several archaeological gives the place an immediate historical interest. The most impressive centuries-old tree is un’Araucaria; old is also the grove of Camellia, characterized by the presence of three different varieties of flowers.
Originally from China is the Paulownia Tormentosa, gradevolissimi plant with purple flowers and the unusual capsule fruits, gathered in showy clusters. At the center of the garden, surrounded by plants of Agapanthus, the exotic Chorisia Speciosa from curious thorny trunk to the presence – in winter- fruit oblong, containing a white fluff.
The shady avenue of plane trees leads to the Belvedere Terrace which offers an unrepeatable view of Vesuvius and the Bay of Naples.