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Frequently overshadowed via the towns of Florence and Rome in art-historical literature, this quantity argues for the significance of Naples as an inventive and cultural centre, demonstrating the breadth and wealth of inventive adventure in the urban.

  • Generously illustrated with a few illustrations particularly commissioned for this book
  • Questions the conventional definitions of 'cultural centres' that have resulted in the forget of Naples as a centre of inventive importance
  • A major addition to the English-language scholarship on paintings in Naples

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Ko ¨nig Alfonso I. seventy nine THE neighborhood EYE: FORMAL AND SOCIAL differences IN overdue QUATTROCENTO NEAPOLITAN TOMBS 14 15 sixteen 17 eighty . von Neapel triumphiert als Friedensfurst am Grabmal der Parthenope’, Georges Bloch Jahrbuch des Kunstgeschichtlichen Seminars der Universit. at . Zurich, 1, 1994, 93–107; Arnaldo Venditti, ‘Presenze catalane nell’architettura aragonese, 1442–1501, a Napoli e in Campania’, in Cesare Cundari, ed. , Verso un repertorio dell’architettura catalana: architettura catalana in Campania: province di Benevento, Caserta, Napoli, Rome, 2005, 145–64. See Alan Ryder, Alfonso the Magnanimous. King of Aragon, Naples and Sicily, 1396–1458, Oxford, 1990. For the ancient occasion, see Ellen Callman, ‘The Triumphal access into Naples of Alfonso I’, Apollo, one hundred ten, 1979, 24–31; Marzia Pieri, ‘‘‘Sumptuosissime pompe’’. Lo spettacolo nella Napoli aragonese’, in Studi di filologia e critica offerti dagli allievi a Lanfranco Caretti, Salerno, 1985, 39–82; Grazia Distaso, Scenografia epica. Il Trionfo di Alfonso– Epigono Tassiani, Bari, 1999. For the similar illu­ strated manuscript, see Fulvio delle Donne, ‘La Historia Alphonsi primi regis di Gaspare Pelle­ grino: il ms. IX C 22 della Biblioteca Nazionale di Napoli’, Archivio storico in keeping with le Province di Napoli, 118, 2000, 89–104. for an additional event of 1423, see wish Maxwell, ‘‘‘Uno elefante grand­ issimo con lo castello di sopra’’: il trionfo aragonese del 1423’, Archivio storico italiano, a hundred and fifty, 1992, 847–75. George L. Hersey, Alfonso II and the creative Renewal of Naples, 1485–1495, New Haven and London, 1969, 111–15; Martina Hansmann, ‘Die Kapelle des Kardinals von Portugal in S. Miniato al Monte’, in Andreas Beyer and Bruce Boucher, eds, Piero de’Medici ‘il Gottoso’ (1416–1469). Kunst im Dienste der Mediceer, Berlin, 1993, 291–316; Francesco Quin­ terio, Giuliano da Maiano ‘Grandissimo Domestico’, Rome, 1996, 510–26; Erminia Pepe, ‘Le tre cappelle rinascimentali in Santa Maria di Monteoliveto a Napoli’, Napoli Nobilissima, 37, 1998, 97–116; For the attribution to Antonio Rossellino and Benedetto Maiano, see Doris Carl, Benedetto da Maiano. Ein Florentiner Bildhauer an der Schwelle zur HochRenaissance, 2 vols, Regensburg, 2006, vol. 1, 381–92. For the Florentine Chapel, see Frederick Hartt, Gino Corti and Clarence Kennedy, The Chapel of the Cardinal of Portugal (1434–1459) at San Miniato al Monte in Florence, Philadelphia, 1964; Linda A. Koch, ‘The Early Christian Revival at S. Miniato al Monte. The Cardinal of Portugal Chapel’, paintings Bulletin, seventy eight, 1996, 527–55. ‘Il mausoleo della Famiglia Sangro, ricco di statue, e di trofei militari, e con molte memorie di varij Eroi di questa nobilissima Famiglia. ’ Vincenzo Maria Perrotta, Descrizione storica della chiesa e del monastero di S. Domenico Maggiore di Napoli, Naples, 1828, fifty four. See Giuseppe Sigismondo, Descrizione della citta` di Napoli e suoi borghi, three vols, Naples, 1788, vol. 2, 21: ‘. . . i depositi della famiglia di Sangro; ed ulti­ mamente vi fu aggiunto quello di Nicola di Sangro che servı´ il nostro Monarco Carlo Borbone, nel quale vedesi il suo mezzo busto coffee al vivo fra le militari bandiere, e i guerrieri trofei, sotto de’quali si legge: ‘‘Ad memoriam nominis immortalis/Nicolai de Sangro/e Sancto Lucidensium Marchionibus/ Fundorum et Princibus Marsorum Comitibus/ Philippi V.

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