The article focuses on the relationship between Giulio Cesare Capaccio (1552-1634) and the figurative arts in Naples in the late 16th and early 17th centuries. In particular, references to the Neapolitan art context within a little-studied work by Capaccio, the Neapolitanae Historiae (1607), are thoroughly investigated for the first time. In this text, the references to the ancient collection of the painter Fabrizio Santafede and, above all, the descriptions of the churches of Santa Maria del Parto, Santa Maria di Piedigrotta, and Santa Maria a Cappella Vecchia arouse considerable interest. In describing these churches, the historian highlights the importance of their most significant artworks, such as the famous tomb of Iacopo Sannazzaro, carved by Giovan Angelo Montorsoli. Of considerable interest is the description of the Charterhouse of San Martino, a place where Capaccio had the opportunity to observe a lost Last Supper by the Genoese Luca Cambiaso. At the beginning of the 17th century this work was, unfortunately, given by the Carthusians to Viceroy Juan Alonso Pimentel Enríchez, Earl of Benavente, who moved it to Spain, along with other works, (which were only partly preserved) created at the end of the 16th century upon the initiative of the learned prior Severo Turboli, promoter of the monastery’s renovation works
Santafede, Cobergher, Laureti, Cambiaso, Muziano e altri maestri in alcune pagine dimenticate delle Neapolitanae Historiae di Giulio Cesare Capaccio
DE MIERI STEFANO
2022-01-01
Abstract
The article focuses on the relationship between Giulio Cesare Capaccio (1552-1634) and the figurative arts in Naples in the late 16th and early 17th centuries. In particular, references to the Neapolitan art context within a little-studied work by Capaccio, the Neapolitanae Historiae (1607), are thoroughly investigated for the first time. In this text, the references to the ancient collection of the painter Fabrizio Santafede and, above all, the descriptions of the churches of Santa Maria del Parto, Santa Maria di Piedigrotta, and Santa Maria a Cappella Vecchia arouse considerable interest. In describing these churches, the historian highlights the importance of their most significant artworks, such as the famous tomb of Iacopo Sannazzaro, carved by Giovan Angelo Montorsoli. Of considerable interest is the description of the Charterhouse of San Martino, a place where Capaccio had the opportunity to observe a lost Last Supper by the Genoese Luca Cambiaso. At the beginning of the 17th century this work was, unfortunately, given by the Carthusians to Viceroy Juan Alonso Pimentel Enríchez, Earl of Benavente, who moved it to Spain, along with other works, (which were only partly preserved) created at the end of the 16th century upon the initiative of the learned prior Severo Turboli, promoter of the monastery’s renovation worksI documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
