The need to allocate a special room to contain works of art and finds of historical-local interest was felt in Montevergine after the fire in the guesthouse in 1611 and after the central nave of the church fell in 1629. In the two painful circumstances , the monks recovered pieces of architecture and sculpture, votive tablets and crib scenes which, during the reconstruction phase, no longer found a place in their original site. Abbot Iacuzio, in 1764, thought well of cataloging and exhibiting th read more
The need to allocate a special room to contain works of art and finds of historical-local interest was felt in Montevergine after the fire in the guesthouse in 1611 and after the central nave of the church fell in 1629. In the two painful circumstances , the monks recovered pieces of architecture and sculpture, votive tablets and crib scenes which, during the reconstruction phase, no longer found a place in their original site. Abbot Iacuzio, in 1764, thought well of cataloging and exhibiting those finds in the corridor adjacent to the Corvi courtyard. Unfortunately this first museum arrangement, during the century of suppressions, was undone and the pieces of archaeological interest were dispersed and scattered here and there in the basements of the monastery. After the Second World War, with the renewed sensitivity for the memories of the past and with the scientific and economic contribution of the competent ministry, the discussion on the Montevergine Museum was resumed, open to the public in September 1968. But it was only starting from 2000, on the occasion of the Great Jubilee, the definitive arrangement of the museum rooms was reached. read less