The Succorpo in the Cathedral of Naples: 'Empress of All Chapels'

Norman, Diana

doi:10.2307/1482360

Cited by 4 publications

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“…Research has not identified any direct model. Norman 1986, pp. 344-346 linked it to Spanish monuments, De Divitiis 2007 175 instead pointed out examples of freestanding figures in prayer found in works of baronial patronage in the kingdom and a lost statue of Alfonso II in the oratory of the royal Villa La Duchesca.…”

Section: Claiming Urban Presencementioning

confidence: 99%

Los obispos napolitanos como patrocinadores de arte: de Anjou a Aragón

Bock

2021

Anu. estud. mediev.

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Dentro de la nobleza napolitana, los Carafa fueron sin duda los más fieles y devotos a la Casa de Aragón. Desde 1458 hasta 1576, la familia Carafa ocupó el arzobispado napolitano casi sin interrupción. Su mecenazgo –la restauración del ábside y la cripta de la catedral alrededor de 1500, el Succorpo di San Gennaro–, se sitúa en una perspectiva del patronazgo episcopal napolitano a largo plazo. El objetivo es mostrar cómo la fábrica existente de la catedral determinó las acciones de cada patrocinador desde los tiempos angevinos.

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Section: Claiming Urban Presencementioning

confidence: 99%

Los obispos napolitanos como patrocinadores de arte: de Anjou a Aragón

Bock

2021

Anu. estud. mediev.

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In imitation of Saint Thomas Aquinas: art, patronage and liturgy within a Renaissance chapel

Norman¹

1993

Renaissance Studies

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Appropriating Sacred Space: Private-Chapel Patronage and Institutional Identity in Sixteenth-Century Rome—The Case of the Office of Ceremonies

DeSilva¹

2011

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The author explores the efforts of papal ceremonialist Paris de' Grassi (1504-28) to transform the Office of Ceremonies from a group of semi-corporate, specialized papal attendants into a curial college with fixed regulations and social clout. The reform bull Pastoralis officii (1513) permanently reserved benefices at the Church of Ss. Celso and Giuliano in Rome, where de' Grassi served as archpriest. Between 1524 and 1551 ceremonialists endowed three private chapels at Ss. Celso and Giuliano; in 1578 another ceremonialist established a chapel at the Church of San Lorenzo in Lucina, where a personal monument did not reference or depend on de' Grassi's legacy. The construction of memorial chapels at Ss. Celso and Giuliano allowed ceremonialists to establish both individual and collected corporate identities and reveals the continued entwining of private and institutional goals in both patronage and the papal bureaucracy.

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The Succorpo in the Cathedral of Naples: 'Empress of All Chapels'

Cited by 4 publications

References 0 publications

Los obispos napolitanos como patrocinadores de arte: de Anjou a Aragón

Los obispos napolitanos como patrocinadores de arte: de Anjou a Aragón

In imitation of Saint Thomas Aquinas: art, patronage and liturgy within a Renaissance chapel

Appropriating Sacred Space: Private-Chapel Patronage and Institutional Identity in Sixteenth-Century Rome—The Case of the Office of Ceremonies

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