Art and Architecture in Naples, 1266-1713: New Approaches
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Often overshadowed by the cities of Florence and Rome in art-historical literature, this volume argues for the importance of Naples as an artistic and cultural centre, demonstrating the breadth and wealth of artistic experience within the city.
- Generously illustrated with some illustrations specifically commissioned for this book
- Questions the traditional definitions of 'cultural centres' which have led to the neglect of Naples as a centre of artistic importance
- A significant addition to the English-language scholarship on art in Naples
cri or most up-to-date fashion. The diffusion of artistic production should not be used as the only criteria for centrality, as proposed by Castelnuovo and Ginzburg. Strong artistic traditions could radiate into the periphery but they might still seem rather provincial.77 The criteria Hannerz set forth for a cultural deﬁnition of a world city can be applied as convincingly to fourteenth- and ﬁfteenth-century Naples as to modern cities. The incongruities between the culturally and economically
(?), Noli me tangere, c. 1308. Fresco. Naples: Brancaccio Chapel, San Domenico Maggiore. Photo: Roma, ICCD, Fototeca Nazionale, Neg. E63592. 4 Detail of Pietro Cavallini (?), St Thomas and a Prophet, c. 1320. Fresco. Naples: Santa Maria Donna Regina. Photo: r Luciano Pedicini/Archivio dell’Arte. 43 THE RISE OF THE COURT ARTIST 5 Birth of John the Baptist and the Annunciation from the Bible of Pope Clement VII, c. 1330. Miniature painting. London: British Library, Add. MS 47672, fol. 397v.
expanded and embellished the monument of his ancestors, but also, so to speak, burst its frame with the force of a baroque formal vocabulary.17 The ﬁfteenth-century triumphal arch that once served as a setting for the tomb of his forefather, Placido Sangro, who died in 1480 and was interred according to the customs of the time, now retreats into the back ground.18 Also dating from the ﬁfteenth century are the statues of Peter and Paul, housed in the lateral niches, as well as one representing
determining the relevance of visual references. One ﬁnal example: the tomb of the highly-regarded humanist Diomede Carafa (c. 1406–87 – mentioned earlier as the presumed commissioner of his father’s tomb), today located to the right of the altar in the Cappellone del Crociﬁsso in San Domenico (see plate 11), may be understood as an especially ambitious project, demonstrated by its prestigious location. In the absence of textual documentation, attributions – whether to one or more artists – remain
R O F T H E S O U L’ visions of the divine and of saints as apodeictically addressed by God became more common in the increasingly elaborate frontispieces of early eighteenthcentury Naples.28 A good example is the frontispiece to Giuseppe Giovanni Gualtieri’s Vita del Glorioso S. Pasquale Baylon (Naples: Erede del Pittante, 1729), which shows St Pasquale kneeling on earth, picked out by a ray of light from the miraculous ostensory above him, surrounded by cherubim (plate 10). By this date,