The construction of the Gallery represents the point of departure for the remake of the city after the epidemic of cholera of 1884. Numerous they were the architects who introduced they plan, we remember between this Savino, Pisanti, Cassitto, but alone Rocco to having was better.  The begun jobs immediately, fastly were finished in 1892, when the mayor Nicola Amore inaugurated it.  From the architectonic point of view the four facades were embellished with columns ones that consent the filtering of the solar light.  The facade that we see photographed here, and that is placed of forehead to the Theatre was enriched with decoration niches, statues and elements.  From the inauguration the commercial aspect of this Gallery, was demonstrated important, accommodating boutiques and the more fashionable stores, the attended coffees more, and famous the Margherita Theatre's, not only the first cinematographic room of the city. 

More than a century after its foundation (1881), the Museum is open to the public for the first time, at least with a first, small, room. Its holdings comprise thousands of pieces, distributed among collections which were of great importance at the end of the previous century. There are ancient human skulls and skeletons (some from the Palaeolithic age), mummies, prehistoric implements, ethnographic objects from Africa and Oceania, animal remains from Stone Age sites, antique anthropological instruments, plaster casts of human types, and of hominid fossils. The collections, which were brought to the University of Naples by Giustiniano Nicolucci (1819-1904), and further enriched by his successors, have been the exclusive preserve of specialists, and were never exhibited to a wider public. Indeed, after the Second World War, they were locked away without order in cases and bundles. The museum began to confront this problem in 1981, organizing what amounted to an archaeological excavation of its boxes and closets to rediscover its holdings: this is a laborious initiative that is still continuing and that, on this occasion, is beginning to bear some fruit.

The museum occupies a huge edifice built at the end of the 18th century by Pompeo Schianterelli with the participation of Mario Giofreddo , completing the transformation of Palazzo dei Regi Studi and intended to house the collection of archaeological finds from Herculaneum, Pompeii and Stabia. The Palazzo had been built in 1616 for the Count of Lemo, using as its base a cavalry barracks. Schianterelli's building substantially altered the preceding one, which had been notable for its high central part. The later building presents a more compact whole, rhythmically punctuated by trachyte pilasters. Thanks to delays in the work on the Palace of Capodimonte, for which it had been originally destined, the Farnese collection was added to the museum, producing a complex museum organism, today limited to the archaeological collection only. The organisation of objects in the atrium is very interesting, suggesting as it does the collections of the 17th and 18th centuries. The monumental staircase and the Salone della Meridiana on the upper floor are also very impressive.

In 1811 Joachim Murat established the Zoological Museum of the University, and transferred there a large part of the Bourbon natural science collections as well as various private collections. Ferdinand I, who in 1815 granted to the museum the site of the present University Library, enlarged this initial core. Since then, zoologists and comparative anatomists have succeeded one another in the direction of the museum, bringing it new collections, privately acquired, or formed from specimens gathered in the field. The museum had its greatest glory in the first decades of this century. During the last world war, bombardments, occupation, and vandalism reduced its holdings. It owes the recovery of what it does possess to Salfi (in the post-war period), an operation which allowed its temporary opening to the public. Structural problems, and especially damage resulting from the earthquake of 1980 have only allowed for other temporary openings. During these years, however, the acquisition of new specimens has continued. Recently, all display holdings have been reviewed and ordered in a manner that will make them more readily usable

The museums of earth sciences are the direct descendents of the initiative that, during the reign of Ferdinand IV, led to the opening of the Royal Museum of Mineralogy (1801). The Museum of Paleontology, which has its seat in the monastery of Saints Marcellino and Festo, was formed in 1932, with the establishment of the Chair of Paleontology, and was immediately endowed with collections from the Museum of Mineralogy and from the Institute of Geology (1860). The museum has suffered three upheavals, all with serious loss to the collections. The first occurred in 1941when it was hit by an incendiary bomb. The second occurred in the 1960s, during work on the structural renovation of the church of San Marcellino. The third was the result of the earthquake of 1980, which damaged the roof of the room paved in majolica tile, and which led to the building's condemnation, which still prevents its use. The collections have more than 50,000 specimens. Among them are represented the most important groupings of animals and plants from as long as 600 million years ago. Worth noting, for their scientific importance and the beauty of the examples, are the fossil fish from three fossil fields in Campania, the Mammal collections, and the collections of Invertebrates from southern Italian provinces.

The palazzo was constructed between 1464 and 1490 by Tuscan artists as a family residence for the rich Neapolitan merchant, Angelo Como, closely connected to the court of Alfonso of Aragon. The plan for the building, which was constructed using the artistic forms of the Florentine Renaissance, should probably be attributed to Giuliano da Maiano. In 1587, the owners sold the palazzo, and it was then incorporated into the neigh-boring monastery. In 1881-82, during the work of urban renewal constructing via Duomo, it was necessary to tear down the palazzo (which was right along the intended path of the street) and rebuild it 20 meters farther back. Since 1882 it has housed the museum donated to the city by Gaetano Filangieri, prince of Satriano. The museum's holdings, partly destroyed in a bombardment during the last war, comprises a vast array of art objects, including arms, porcelain, paintings, clothing, books, and furniture. Worth noting is the vast collection of porcelain and majolica located on the second floor above a charming wooden gallery that opens onto the room dedicated to Agata Moncada, the founder's mother.

The construction of the Galleria formed part of the vast urban renewal project that followed the cholera epidemic of 1884. Designs were proposed by Savino, Cottrau, Pisanti, Cassitto, and Rocco, with the latter being the winner. Work began immediately and proceeded expeditiously. In 1892 the mayor Nicola Amore opened the Galleria. The structure proved to be a happy choice. From the formal perspective, the glass roof was not limited to being merely a functional part of the brickwork. Rather, by adopting a single unified plan for both materials, their difficult relationship, which had compromised the aesthetic effect of the first Neapolitan galleria, was resolved. The plan was to eliminate, as much as possible, any brickwork on the four facades, envisaging an open colonnade suffused with light. The side facing Theatre San Carlo was enriched with niches, statues, and decorative motifs. Right from its inauguration, the galleria demonstrated its commercial drawing power, housing the most fashionable shops and cafes, the famous Margherita Theatre, and the city's first movie theatre.