Beata Fragilità del Bosco Amato is a biscuit porcelain site-specific artwork created by Diego Cibelli, which frames the entrance to the Porcelain Gallery on the first floor of the Museo di Capodimonte.

Composed of hundreds of phytomorphic elements, animals, fruits, and vegetables in porcelain, the installation functions as a sculptural and narrative device of powerful visual impact. It consists of autonomous yet interdependent units, whose visual sources derive from the Capodimonte collections.

The artwork is located in the first-floor atrium of the Museum, positioned as a threshold to the entrance of the Porcelain Gallery—a new display spread across sixteen thematic rooms dedicated to the major European porcelain factories represented in the collections: from the Royal Factory of Naples and Capodimonte to Meissen, Sèvres, Vienna, Berlin, Paris, Wedgwood, and Ginori Doccia.

Cibelli's work stands in continuity with the manufacturing tradition that found one of the most prestigious production centers of the 18th century right here in Capodimonte.

In this setting, Beata Fragilità del Bosco Amato assumes the role of a visual and conceptual threshold, introducing visitors to the Section and preparing them for a direct dialogue with the historical collections.

On an iconographic and symbolic level, the work draws inspiration from the public festivals of Bourbon Naples, specifically referencing the celebratory banquets dedicated to the nobility. These stood in contrast to the games dedicated to the common people, such as the albero della cuccagna (greasy pole), an ephemeral ritual structure that staged abundance as a tool for the representation of power and collective participation.

The porcelain elements are intentionally placed at an ambiguous height, suggesting an proximity that is accessible yet simultaneously denied, thus evoking the tension between desire and impossibility inherent in a playful ritual.

The artwork dissolves the traditional dichotomy between aristocratic and popular culture, restoring a shared emotional dimension.

The installation develops across multiple levels, starting from its anchoring to the entrance wall of the Gallery—recalling the idea of a frieze framing the doorway—and expands multi-dimensionally, with projecting elements arranged on different planes.

Beata Fragilità del Bosco Amato  presents itself as an expanded still life, a contemporary cornucopia that connects abundance and transience, permanence and instability.

These polarities are inscribed within the very medium of porcelain—an inherently fragile and complex material subjected to continuous changes of state, pressure variations, and high temperatures during the firing process.

The technical dimension thus becomes an integral part of Cibelli’s discourse, elevating fragility to a structuring principle of the artwork.