Often on the tourist guides is incorrectly defined as Chapel Minutolo,  without considering that the name of the family knew  some transformations in the centuries: in Minutolo from the native Capece, therefore Capece Minutolo, and finally Capece Minutolo di Canosa, as to avoid confusion with the junior branches that in the meantime were covered with honor conquering titles and feuds. We invite you to visit the special site for the detailed history.

The Chapel Capece Minutolo is opened on the fund of the transept inside the Cathedral of Naples in proximity of the right angle of the same. It is encircled to the right from the Chapel of the Assunta (or family Milano) and to the left from the Chapel devoted to Sant'Aspreno (or family Tocco di Montenifletto).

It represents one of the few monuments survivors, in absolute the best preserved, of the Neapolitan Gothic in which is find an exceptional fusion among the painting, the sculpture and the architecture of the time.

The date of the building is not known exactly, but we know that it was restructured by the archbishop Filippo Capece Minutolo (1288-1301) in concomitance with the works of completion of the primitive factory of the Cathedral. It was dedicated to St. Pietro and Sant'Anastasia.

A door of solid wood and a gate in beaten iron attests the exclusive patronage of the family. The level of the flooring is increased than the one of the transept of the Cathedral and the access is facilitated through two marmoreal stairs.

The floor is decorated with cosmateschi mosaics and introduces the coat of arms of the family in a bas-relief on the center of it. Numerous figures of animals allows to suppose that her flooring was from an anterior age of the restructuring of Phillip Capece Minutolo.

On the leading wall is set the sepulchral monument of the Cardinal Enrico Capece Minutolo (1389-1412) work (1402) of the  abbot Antonio Baboccio. To the same artist the Cardinal and his cousin, the Pope Bonifacio IX, commissioned the portal of the Cathedral.

The sepulchre, constituted from many parts, is entirely of white marble, worked in Gothic style. The dome, ornate of figurines and pyramids, introduces the family coat of arms  to the center and it is sustained by four columns carved to bas-reliefs. These leans on the backs of four lions. The sepulchral box, sustained by three small spiral columns and from two statues representing the Meekness and the Charity, are decorated by the Manger of Jesus Christ, surrounded by a side from Holy Anastasia and from St. Girolamo in action to set the hand on the head of the knelt Cardinal Enrico (represented as a child), and from the other side from S. Pietro and S. Gennaro. The pending statue of the Cardinal covers the sarcophagus and  is surrounded by four Angels, of which  two  maintain the tent where  is represented in relief the Crucifix with her Virgo and San Giovanni. Immediately under the sepulchral urn it is set the stair of the altar decorated with bas-reliefs that represents the Holy Virgo of the Principle surrounded by the 12 Apostles.

The table of the altar is sustained by two small columns and by a box of white marble; this is decorated to the right and to the left from the two Priests of the Ancient Bible, Aronne and Zaccaria, with turiboli in hand. A reliquary containing Relics is set among the two figures.

To the right of the altar is set the sarcophagus of the Archbishop of Naples Filippo Capece Minutolo (1288-1301) decorated with the cosmateschi mosaics of the shop of Arnolfo di Cambio. The Archbishop is represented supine in pontifical suits. The sarcophagus is held up by small twisted columns and it brings a Latin registration in leonini verses which celebrates the virtues of the deceased.

To the left of the altar is set the sarcophagus of the Archbishop of Salerno, already canonical of the Cathedral in Naples, Orso Capece Minutolo (dead in 1327), work of the school of Tino di Camaino.

The walls and the ceiling of the Chapel are entirely decorated by frescos.

In the low part they find position representations of crusaders, riders and notable of the family that distinguished between 1240 and 1482.

Close to the entry, on the left, there are represented  Sant'Antonio from Padua and Saint Caterina from Siena; it follows in the ditch the Maddalena chastely covered by his flowing head of hair. The decoration is completed by some frescos representing varied scenes from the New Bible, among which the histories of Peter and Paul. Among the authors which contributed to the realization they can be quoted Giotto, Montano  d'Arezzo, Pietro Cavallini. The hand of Cimabue probably realized the scene of the crucifixion of St. Pietro.

The ceiling, in origin elegantly decorated, is today of confused and difficult reading given the bad state of maintenance.

A side door before the altar allows access the sacristy, decorated in different epoches with oval representing Bishops and Cardinal of the family. The altar was originally situated in the ancient chapel of the Spirit Saint, situated not too far the chapel Capece Minutolo; it had  been moved here by the Prince of Canosa Fabrizio Capece Minutolo in 1841.

To the outside of the chapel, on the left, there is the sepulchre of Giambattista Capece Minutolo (dead in the 1586). The statue is work of Girolamo d'Auria. The ius soli before the entry was founded by the Pontiff Innocenzo VII on March, 2 nd 1402 and reinstated in 1746 by the Cardinal Giordano Orsini.

The whole Chapel has recently been submitted to restauration, similarly the plant of illumination has been completely modernized according to the laws of the European legislation in June of 2000 following the cares of the actual Princess of Canosa, Lady Irma Capece Minutolo.

Giovanni Boccaccio, mindful of the juvenile Neapolitan stay, ambienced in this chapel the novel of Andreuccio da Perugia inserted in the Decameron.

In July of 2000 they have been celebrated the wedding of the actual Princess of Canosa, Donna Irma Capece Minutolo, niece of Her Majesty The King Farouk of Egypt. These have been jointly officiated from the Priest of the Cathedral, Don Domenico Felleca and from Don Vittorio Formenti in representation of the Curia of the Vatican and of the Saint Father Giovanni Paul II that has personally blessed the union. The ceremony was introduced by the sweet notes of the Ave Maria of Schubert sung by the famous lyric singer aunt fatherly of the bride Her Royal Highness the Princess Lady Irma Capece Minutolo Farouk accompanied by the skilled hands of the organist of the Cathedral.