Second only to the Egyptian Museum of Turin, the Egyptian collection at the National Archaeological Museum of Naples comprises finds commissioned by the Bourbons from the Phlaegrean and Vesuvian regions. The works are displayed according to themes that display ideas of power, death and rituals, cult and magic, socio-economic life, etc. One notable item here actually made its way from the Farnese collection: the kneeling statue of Naophorus with the figure of Osiris in his hand. You can also see sculptures of pharaohs, military officials, etc. in some of the rooms.
This collection houses a vast number of inscriptions in across Greek, Latin and other Italic languages. There is also graffiti found in Pompeii and the other Vesuvian cities (like Stabiaie, and Herculaneum), which sheds insights into the religious, social and economic lives of ancient Romans. It boasts of some 2000-odd documents from 6th century BC to 2nd century AD. Evidence of public life as lived by the Greeks and Oscans (before the arrival of the Romans) is also showcased here through inscriptions.
This collection gives us insights into life in the Campania region, including the Phlaegrean area. The timeline of artifacts recovered range from 2nd century BC to 3rd century AD. Objects on display include bronzes, furnishing elements, materials from the necropolis (like urns and sarcophagi), the amphitheater of Pompeii and more. Even architecturally, the ceilings of the rooms have been decorated with stucco and frescoes.
Tracing its history to the Farnese family and Renaissance Italy, this collection owes its existence to Alessandro Farnese, who later became Pope Paul III in 1534. Descendants of his family inherited Farnese's love for collecting antiques, gems and busts, and they contributed to the growing collection that's on display today. Charles Bourbon's mother, Elisabeth Farnese, a distant relative of the family, was also responsible for passing down antiques to the Bourbons in the 18th century.
Containing over 2,000 specimens, the gems are sourced from both the local Campania region as well as showcased from the private Farnese collection. The gems are arranged according to the period they were acquired, as well who their original owners were. Having switched hands from Charles Bourbon to his successor, Ferdinand I, it found its resting place in the Naples National Archaeological Museum.
This collection devotes itself to the development and evolution of the Campania region from the Bronze age to present day. To achieve this, it has relied on archaeological excavations and objects found in the region over time to trace the history of its settlers. Items on display include vases, urns and sculptures among other artifacts.
Spread across six rooms, the collection contains the early coins found from Magna Graecia (the group of Greek cities strung together in southern Italy), the Kingdom of the Two Sicilies, the Farnese collection and the coins found in the Vesuvian region of southern Italy. The aim of the collection is to spotlight the evolution and contexts under which money was used in this region, particularly in the archaeological and economic sense.
Comprising mosaics (usually floor mosaics) salvaged from Pompeii and Herculaneum, impressive pieces include the famed Alexander mosaic salvaged from Pompeii's most luxurious villa, the House of the Faun. The mosaics from this residence were possibly made in Alexandria, populated the dining area, rooms and atrium. The mosaic themes during this period were usually emblematic and complex, with medallions and decorative pieces lodged in the flooring. Much of these mosaics were also floor decorations.
Containing around 250 artworks of sexual nature, this collection has been kept segregated for its erotic value. Mostly rescued from Pompeii's brothels and houses, they include mosaics, phallic symbols and sculptures. These items reflect the ideals of sexuality and sensuality in the ancient times, and are organized according to material and function. Many of these frescoes once acted as wall paintings in dwellings.
Salvaged from Pompeii, Herculaneum and other cities destroyed by Mount Vesuvius, this collection showcases frescoes no longer found in situ but literally framed as photographs within the museum. The themes span Homeric ideals, religious worship, Roman mythology and more. In this collection, you can also see the tools and techniques used to create frescoes (like the pigments used, the squares and compasses, etc.).
Taken from Pompeii's monument dedicated to the cult of Isis, this collection showcases wall paintings, engravings, inscriptions, sculptures and furnishings from the structure. In fact, the temple of Isis was the first religious monument excavated at Pompeii, and a modern scale drawing depicts what the unearthed features and elements of the temple might look like. The collection contains elements that are used for prayer, and even furniture, sculptures, frescoes of priests, temple inscriptions, etc.
The entry of the Greeks into Campania in the 7th century BC significantly changed the physiognomy and outlook of the region. Particularly in the areas of Paestum, Locri, Metaponto, Taranto, Ruvo, Canosa, Greek influences are perceived more strongly, with the unearthing of terracotta sculptures, vases, etc. The collection traces the evolution of Greek settlement until the arrival of the Romans in the 3rd century BC.
Mostly sourced from Pompeii and Herculaneum, this collection, spread across five rooms, showcases objects from furnishing to lighting to kitchen tools and utensils. In short, it offers a window into the daily lives of the ancient Romans through their everyday objects, besides the elements excavated from public spaces like baths and amphitheaters.
Celebrating the intersections between paleontology, geology and paleethnology, this collection contains objects and remnants of settlers in Southern Italy from the Bronze Age and Iron Age. Evidence includes fragments left of hunter-gatherers in Capri, the Neolithic age and rise of the economy, etc. Objects on display include metal items from the Age of Metals, grave goods from the Iron age and more.
This collection showcases finds from a suburban villa in Herculaneum, most notably famed for its 1,000+ papyrus scrolls found within its folds. The impressive sculptures and bronzes found in the peristyle of this villa are now housed in the museum, including the Statue of Athena, a bust of Artemis, a drunken Silenus, and many more objects.
What is the Villa of the Papyri?
Ingeniously envisioned by Giuseppe Fiorelli, director of Pompeii excavations, the cork, paper and wood model intricately and precisely showcases what ancient Pompeii would have looked like. It has also reproduced the mosaics and frescoes using watercolors.
Inside the ruins of Pompeii
Artist: Possibly Filosseno of Eretrea, Aristide of Thebes or Elena of Alexandria
Location: Mosaics collection
Found in the House of the Faun in Pompeii, the Battle of Issus mosaic depicts Alexander advancing with his Greece-Macedonian army and the flight of Darius in his chariot. The use of sober colors and mute tones lend a sense of harmony to the scene.
At present, there are about 16 collections spanning the basement, ground and second floors of the museum. Do keep a lookout for the collections that are closed for restoration during your visit, as many of these collections are thousands of years old and require frequent upkeep and maintenance.
At present, the Numismatics and Gem collections are off-limits to the public as they are being refurbished. The Farnese Cup from the Gem collection, however, is temporarily displayed in the Hall of the Sundial.
Most people who visit the Naples art museum try not to miss the Farnese Collection, the Mosaics room, the Secret Cabinet collection (which houses erotic artifacts from Pompeii and Herculaneum) and the collection that has artifacts from Pompeii and Herculaneum.
Saved and transported to Naples from the Baths of Caracalla in Rome, the Farnese Bull and Farnese Hercules are masterpieces in marble sculpture that are renowned for their skill, thematic effect and size. Especially in the case of the Farnese Bull, the depiction of movement and tension using a still block of stone is commendable.
The Mosaic of Alexander was rescued from the House of the Faun in Pompeii. Although segments of the mosaic have now been obscured by the vagaries of time, the mosaic’s overall appearance is still grand and commanding, given its battle theme, use of somber colors, etc.
While planning your visit, aim to set aside at least 2-3 hours to fully appreciate the collections of this expansive museum. Even then, it’s likely you may not be able to see every single piece of art or artifact on display!
