84
Castaldi, Giuseppe
Obsequious tributes from the faithful city of Naples for the festive applause of the royal wedding of the Catholic monarch Charles II, king of Spain, with the Sereniss. Mister Duchess of Orleans Marie Louise Bourbon. Under the direction of the Marquis de los Velez, viceroy of Naples. Historical report collected by Dr. Giuseppe Castaldi., 1680
Information
In Naples, for Salvatore Castaldi Regio Stampatore, 1680. In Folio p., artistic allegorical frontispiece, pp. 96, a plate depicting the Viceroy on horseback, 28 plates concerning the methods of the celebrations (the following plates are repeated: n° 1 - 2 - 4 - 6 - 8 - 10 - 12 - 18) and two plates with extraordinary characteristics: the first is a perspective representation of Naples with the ride of the royal procession and the meticulous description of all its participants with the backdrop of the city from Sebeto to Posillipo; the second engraving describes the amphitheater created in front of the Royal Palace for the knights' carousel and other wedding games. Both tables are to be related to the "cavalcata" for the visit of Mary of Austria carried out in 1632 by Alessandro Baratta; the second panel is a remake of the copper "Theatre for the tournament with allegorical floats..." engraved by Nicola Perrey for the volume by A. Cirino for the birth of the Prince of Spain in 1658, (See E.BELLUCCI Masterpieces in festa, 2000 pp.249) in the other smaller tables the signs of the various quadrilles of the carousel are reproduced, decorated with allegories and coats of arms. (See CECI, 1937 n° 146). Some restorations. Frontispiece and title page loose, some small holes on the title page. Contemporary binding in full parchment, calligraphic title, colored cuts. This example was exhibited at the “Civiltà del seicento” exhibition held in Naples from 24 October 1984 to 14 April 1985.
Specialist Notes
In this very long "triumph", in a manner entirely similar to the representation carried out in the Strozzi Table two centuries earlier, a perspective view of the city from the sea is outlined, of which the buildings and places facing the coast are minutely described. The procession, described in detail, up to the portrait of the characters present, winds conventionally along the eastern coast, so as to have the urban landscape from the sea as a backdrop. The city is represented in its entire development, from Capo Posillipo (with Pozzuoli in the background) to the Maddalena Bridge and the Villa of Poggioreale. Despite the modest height of the painting (19 cm), the engraver manages to represent, according to distinct perspective cuts, what has now become the typical landscape of the city from the sea, together with countless architectural and customary details. The ride can be considered an anticipation of the view of Naples from the sea, realistic and no longer a bird's eye view which would find widespread credit among the landscape artists of the time less than a century later. Bibliography: De Seta, 1969; Bread, 1970; Pane-Valerio, 1988, pp.156-159.
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