Accademia Pontaniana

Santa Teresa degli Scalzi (previously known as the church of Santa Teresa al Museo, or of Santa Teresa agli studi or della Madre di Dio) is a church in Naples, Italy, located in via Santa Teresa degli Scalzi, a wide street opened during 1806–1810, to connect the historic center of Naples to the zone of Capodimonte. The church is generally closed to the public. Church construction began in 1604 and the church was consecrated in 1612 under the Order of Discalced Carmelites thanks to the donations obtained by the Spanish Carmelite follower of St Teresa of Avila, the preacher Pietro della Madre di Dio.

Santa Maria della Verità (once called Sant'Agostino degli Scalzi or Santa Maria dell'Oliva) is a church in rione Materdei, in the quartiere of Stella of Naples, Italy. The entry is located on Via San Agostino degli Scalzi, number 6.

The National Archaeological Museum of Naples (Italian: Museo Archeologico Nazionale di Napoli, sometimes abbreviated to MANN) is an important Italian archaeological museum, particularly for ancient Roman remains. Its collection includes works from Greek, Roman and Renaissance times, and especially Roman artifacts from the nearby Pompeii, Stabiae and Herculaneum sites. From 1816 to 1861 it was known as Real Museo Borbonico ("the Royal Bourbon Museum").

The Farnese Atlas is a 2nd-century AD Roman marble sculpture of Atlas holding up a celestial globe. Probably a copy of an earlier work of the Hellenistic period, it is the oldest extant statue of Atlas, a Titan of Greek mythology who is represented in earlier Greek vase painting, and the oldest known representation of the celestial spheres and the classical constellations. The sculpture is at the National Archaeological Museum of Naples, in Italy. The statue is dated around AD 150, during the Roman Empire and after the composition of the Almagest by Claudius Ptolemy, but the celestial globe has long been presumed to represent constellations mapped in earlier Hellenistic astrology, particularly in the work of Hipparchus in the 2nd century BC.Atlas labors under the weight because he had been sentenced by Zeus to hold up the sky. The sphere shows a depiction of the night sky as seen from outside the outermost celestial sphere, with low reliefs depicting 41 (some sources say 42) of the 48 classical Greek constellations distinguished by Ptolemy, including Aries the ram, Cygnus the swan and Hercules the hero. The sculpture stands seven feet (2.1 meters) tall, and the sphere is 65 centimeters (26 inches) in diameter. The name Farnese Atlas reflects its acquisition by Cardinal Alessandro Farnese in 1562, and its subsequent exhibition in the Villa Farnese.

The Farnese Bull (Italian: Toro Farnese), formerly in the Farnese collection in Rome, is a massive Roman elaborated copy of a Hellenistic sculpture. It is the largest single sculpture yet recovered from antiquity. Along with the rest of the Farnese antiquities, it has been since 1826 in the collection of the Museo Archeologico Nazionale Napoli in Naples, inv. no. 6002, though in recent years sometimes displayed at the Museo di Capodimonte across the city. The sculpture in Naples is much restored, and includes around the base a child, a dog, and other animals not apparently in the original composition, which is known from versions in other media.Pliny the Elder mentions what was presumably the prime version of it as the work of the Rhodian artists Apollonius of Tralles and his brother Tauriscus, stating that it was commissioned at the end of the 2nd century BCE and carved from just one whole block of marble. It was imported from Rhodes as part of the remarkable collection of artwork and sculpture owned by Asinius Pollio, a Roman politician who lived during the years between the Republic and the Principate.This colossal marble sculptural group represents the myth of Dirce first wife of Lykos, King of Thebes. She was tied to a wild bull by Amphion and Zethus, the sons of Antiope, who wanted to punish Dirce for the ill-treatment inflicted on their mother.

The Farnese Hercules (Italian: Ercole Farnese) is an ancient statue of Hercules, probably an enlarged copy made in the early third century AD and signed by Glykon, who is otherwise unknown; the name is Greek but he may have worked in Rome. Like many other Ancient Roman sculptures it is a copy or version of a much older Greek original that was well known, in this case a bronze by Lysippos (or one of his circle) that would have been made in the fourth century BC. This original survived for over 1500 years until it was melted down by Crusaders in 1205 during the Sack of Constantinople. The enlarged copy was made for the Baths of Caracalla in Rome (dedicated in 216 AD), where the statue was recovered in 1546, and is now in the Museo Archeologico Nazionale in Naples. The heroically-scaled Hercules is one of the most famous sculptures of antiquity, and has fixed the image of the mythic hero in the European imagination. The Farnese Hercules is a massive marble statue, following a lost original that was cast in bronze through a method called lost wax casting. It depicts a muscular, yet weary, Hercules leaning on his club, which has the skin of the Nemean lion draped over it. In myths about Heracles, killing the lion was his first task. He has just performed one of the last of The Twelve Labours, which is suggested by the apples of the Hesperides he holds behind his back. The type was well known in antiquity, and among many other versions a Hellenistic or Roman bronze reduction, found at Foligno is in the Musée du Louvre. A small Roman marble copy can be seen over the Museum of the Ancient Agora, Athens (see illustration).

The Secret Museum or Secret Cabinet (Italian: Gabinetto Segreto) in Naples refers to the collection of 1st-century Roman erotic art found in Pompeii and Herculaneum, now held in separate galleries at the National Archaeological Museum in Naples, the former Museo Borbonico. The term "cabinet" is used in reference to the "cabinet of curiosities" - i.e. any well-presented collection of objects to admire and study. Re-opened, closed, re-opened again and then closed again for nearly 100 years, the secret room was briefly made accessible again at the end of the 1960s before being finally re-opened in 2000. Since 2005 the collection has been kept in a separate room in the Naples National Archaeological Museum. Although the excavation of Pompeii was initially an Enlightenment project, once artifacts were classified through a new method of taxonomy, those deemed obscene and unsuitable for the general public were termed pornography and in 1821 they were locked away in a Secret Museum. The doorway was bricked up in 1849. Throughout ancient Pompeii and Herculaneum, erotic frescoes, depictions of the god Priapus, sexually explicit symbols and inscriptions, and household items such as phallic oil lamps were found. The ancient Roman understanding of sexuality viewed explicit material very differently from most present-day cultures. Ideas about obscenity developed from the 18th century to the present day into a modern concept of pornography. At Pompeii, locked metal cabinets were constructed over erotic frescos, which could be shown, for an additional fee, to gentlemen but not to ladies. This peep show was still in operation at Pompeii in the 1960s. The cabinet was only accessible to "people of mature age and respected morals", which in practice meant only educated men. The catalogue of the secret museum was also a form of censorship, as engravings and descriptive texts played down the content of the room.

Santa Maria Avvocata is a Catholic church located at the end of Via Avvocata in Piazza Dante in the Historic Center of Naples, Italy.

The Casa dello Scugnizzo (House of the Scugnizzo), is a multifunctional foundation of social assistance in the district of Materdei in Naples.

The Church of the Concezione a Materdei is a church in the zone of Materdei in Naples, Italy. Building was begun in 1743, and included a conservatory for children. Reconstructed in the present configuration in 1789. The conservatory fell under the leadership of a royal magistrate. The interior has an altar whose design is attributed to Domenico Antonio Vaccaro, or his studio. This Jesuits esteemed this architect and commissioned the silver statue of the Immacolata for the church of the Gesù Nuovo. Near the chapel on the right is the underground tomb of the Serra family from the Duchy of Cassano. The architect of the Spire (Guglia) of the Immaculate Conception, near the church, is attributed to Giuseppe Astarita. Before placement in its present place, it was in the courtyard of the conservatory. The church versa in a dilapidated state and closed to visitors in 2012.

The Church of Santa Maria di Costantinopoli is a 16th-century Roman Catholic church located on the street of the same name in Naples, Italy, and located a block north of the Academy of Fine Arts of Naples.

The Church of Santa Maria di Caravaggio is a Baroque Catholic church located on Piazza Dante, in Naples, Italy. Construction was begun in 1627 under the patronage of Felice Pignella, and dedicated to the Holy Mary of Caravaggio, a small town in the Province of Bergamo. This attribution of Mary recalls an apparition of the Virgin in 1432. The church was first attached to the Piarists, a religious order dedicated to teaching, and later to the Barnabites. In 1873, it became property of the Prince of Naples Institute for Blind Children (Italian: Instituto Principe di Napoli per giovani non vedenti). The architect who helped complete the work was Giovan Battista Nauclerio. The dome was restored in 1846 by Michele Stellati. The main altarpiece contains a painting entitled The Birth of Mary, painted by Gaetano Gigante. The chapels to the right have paintings of St Joseph by Francesco Solimena, an anonymous Madonna della Provvidenza, and a Deposition by Domenico Antonio Vaccaro. The chapels on the left have a Sant'Antonio Zaccaria, by Luigi Scorrano; the tomb of the Barnabite priest, St. Francis Xavier Bianchi, and a painting depicting the apparition of the Virgin to peasants in Caravaggio. Other works in the church were completed by Errico Giovine and Giuseppe Bonolis.