elaborate reliefs, from 1150; and those of Ravello from 1179. The churches of Naples abound in sepulchral monuments of the 14th, 15th, and 16th centuries. Much information on Neapolitan sculptors and their works may be obtained from Mr. Charles Perkins's work on Italian Sculpture.*

(D.) PAINTING.

It has been frequently suggested by Italian writers on the Neapolitan school of painting, that the antiques and arabesques which have been discovered in the neighbourhood of the capital must have had an important influence in forming the style of the earlier masters. If this remark had been restricted to the artists of the 16th and 17th centuries, who undoubtedly studied with diligence the frescos and ornaments brought to light by the excavation of the Roman tombs at Puteoli and other places in the western district, its accuracy might be admitted; but the late period of these excavations, and the still later period of the discovery of the buried cities, appear to throw great doubt upon the theory as applied to the older masters. There is perhaps more reason for assuming that the mosaics which the Byzantine artists, from a very early period of the connection of Naples with the Eastern empire, introduced into the Lombard and early Gothic churches, were the source of that large infusion of Byzantine art which characterised the Neapolitan school in the first stages of its development. At a later period, on the accession of the house of Aragon, the patronage of Flemish painters by Alfonso I. brought the artists of Naples into intimate association with the masters of that school, and this association was subsequently strengthened in a more direct manner by the connection of the Netherlands with Spain, while Naples was governed by Spanish Viceroys.

For the convenience of travellers we append the following chronological list of the most celebrated Neapolitan architects, sculptors, and painters, chiefly compiled from Dominici's history. It must be borne in mind, however, that, with regard to the painters especially, recent criticism has refused to acknowledge the existence of any independent character in early Neapolitan art; and the researches of Messrs. Crowe and Cavalcaselle prove that the Neapolitan painters of the 13th and 14th centuries, to whom native writers have assigned such a high place in the history of art in S. Italy, are more or less mythical. Dr. Jacob Burckhardt's 'Cicerone,' a Handbook of Architecture, Sculpture, and Painting in Italy, is a most useful work. The part on Painting has been translated, and is published uniform with Murray's Handbooks.t In it is included a short account of Neapolitan painting, and of the principal pictures in S. Italy. More full and detailed information on the subject will be

* Italian Sculpture: a History of Sculpture in Northern, Southern, and Eastern Italy: by Charles Perkins. 1 vol. 1868.

†The Cicerone: or, Art Guide to Painting in Italy; by Dr. J. Burckhardt. Edited by Dr. A. von Zahn. Translated by Mrs. A. H. Clough. 1 vol.

found in Messrs. Crowe and Cavalcaselle's works,* and in a recent work by Sig. Salazzaro, on the Italian Schools of Painting, from the 4th to the 13th century. Kugler's Handbook of the Italian Schools, and Miss Farquhar's Biographical Catalogue of the principal Italian Painters, are also useful books.

B.

ARCHITECTS.

D.

1230. MASUCCIO I. is the first Neapolitan architect of the Revival. He is 1306 supposed to have been the pupil of a Byzantine artist; or more likely of the school of Fuccio, who was brought to Naples by the Emperor Frederick II. to complete the Castel Capuano.

1291. Masuccio II. His pupils were:

1. Giacomo de Sanctis

2. ANTONIO BAMBOCCIO, also called BABOCCIO (fl. 1420).
3. ANDREA CICCIONE

Pietro and Ippolito del Donzello, better known as painters.
Agnolo Aniello del Fiore, a pupil of Ciccione.

Antonio Fiorentino of Cava.

Luigi Impo (fl. 1532).

1388 1435

1478. GIOVANNI (MERLIANO) DA NOLA, a pupil of Aniello del Fiore, 1559

celebrated as a sculptor.

Ferdinando Manlio, his pupil.

Cola dell' Amatrice (fl. 1514-35), who was also a painter.

Battista Marchirolo, of Aquila (fl. 1573).

Dionisio di Bartolommeo (fl. 1592).

1675. Ferdinando Sanfelice.

1718. Carlo Zoccoli

1700. LUIGI VANVITELLI, who erected the royal palace of Caserta. Domenico Fontana (fl. 1600), his son Giulio Cesare (fl. 1620), Carlo Fontana (1634-1714), Cosimo Fansaga (1591-1673), and Ferdinando Fuga (fl. 1740), although much employed at Naples, where they erected many buildings, were not Neapolitans.

SCULPTORS.

1771

1773

1230. Masuccio I., already mentioned as an architect, seems to have been 1306 the restorer of sculpture in Naples. His works are in the Minutoli chapel.

Pietro degli Stefani, a brother of Tommaso, the painter (fl. 13th cent.) 1291. Masuccio II. Some fine tombs in the churches of Sta. Chiara, S. 1388 Domenico, and S. Lorenzo, are attributed to him. His pupils

were:

1. ANTONIO BABOCCIO, called often Bamboccio, an architect as well
as a sculptor. His finest works are the Gothic façade and door-
way of S. Giovanni da Pappacoda, and the tomb of Aldemoresco
in S. Lorenzo.

* History of Painting in Italy, from the 2nd to the 16th Century, 3 vols. 1866; and History of Painting in North Italy, from the 14th to the 16th Century, 2 vols. 1871 by Messrs. Crowe and Cavalcaselle.

B.

D.

2. ANDREA CICCIONE, whose masterpiece is the Tomb of King 1455
Ladislaus in the ch. of S. Giovanni in Carbonara.
Agnolo Aniello del Fiore, Ciccione's pupil.
GIUSEPPE SANTACROCE

1537

1478. GIOVANNI MERLIANO, called also, from his birthplace, Gio- 1559
vanni da Nola, a pupil of Aniello del Fiore, and perhaps the
greatest Neapolitan sculptor. His works in Naples are numerous;
but his masterpiece is the monument of Don Pedro de Toledo,
in the ch. of S. Giacomo degli Spagnuoli.

Salvatore dell' Aquila, surnamed l'Ariscola (fl. 15th cent.), whose
best works are at Aquila.

Silvestro Salviati dell' Aquila (fl. 1506), whose masterpiece is in
the ch. of S. Bernardino, at Aquila.

ANNIBALE CACCAVELLO, a pupil of Merliano (fl. 16th cent.).

Domenico d'Auria (fl. 1600).

Sanmartino (fl. 16th cent.).

Domenico Antonio Vaccaro (fl. 18th cent.).

PAINTERS.

1230. TOMMASO DEGLI STEFANI, a contemporary of Cimabue, and the 1310 founder of the Neapolitan school of painting. The illustrations

of the Passion in the Minutoli chapel in the Cathedral, and the
Madonna at the high altar in Sta. Maria la Nuova are his best
works extant.

1260. Filippo Tesauro, his pupil. The Virgin and Child with several 1320
Saints, in the Museum, is the only painting attributed to him.
Maestro Simone, Tesauro's pupil, and the friend and assistant of 1346
Giotto in the paintings the latter executed at Naples. A painting
in the chapel of St. Thomas Aquinas, in the ch. of S. Domenico,
is said to be his earliest work; S. Giacomo della Marca and the
Angels, in the Museum; but his best paintings are in the ch.
of S. Lorenzo. His pupils were :-

1320. 1. Gennaro di Cola, to whom the frescos in the Chapel del Croce 1370 fisso in the ch. of the Incoronata are attributed.

2. Maestro Stefanone, whose best work is a Magdalen on a gold 1390 ground in the Brancacci chapel at S. Domenico.

(Of the above painters, Crowe and Cavalcaselle say that not only no positive records exist of them, but no paintings by them can be found.)

1350. 3. COLANTONIO or NICOLA ANTONIO DEL FIORE, the same, according 1444 to De Dominici, as Nicola di Tommaso del Fiore. He appears to have painted in oil as early as 1371. His masterpiece is the S. Jerome in the Museum. His pupils were:

1. Agnolo Franco, whose best frescos are in the ch. of S. Do- 1445 menico.

(Of Colantonio, Crowe and Cavalcaselle say that it may be fairly assumed that no such painter ever existed; and of Agnolo Franco, that the works attributed to him are all Umbro-Siennese.)

1382. 2. ANTONIO SOLARIO, called lo Zingaro, a travelling tinker, 1455 who, having fallen in love with Colantonio's daughter, became an artist to win her hand. The frescos illustrating the life of S. Benedict, in one of the cloisters at S. Severino e Sosio, and the

B.

Virgin enthroned, with Saints, in the Museum, are considered his
masterpieces.

(Crowe and Cavalcaselle speak of Lo Zingaro as the "ghost of a painter," and say that his existence may be accepted, because it cannot be disproved; but that it is impossible to acknowledge as the production of one pencil, the diverse creations attributed to him.)

His most eminent pupils were :—

1. Niccolo di Vito (fl. 1460).

D.

1430. 2. Simone Papa the elder, who imitated the style of Van Eyck. 1488
His masterpiece is the painting of S. Jerome and S. James invok-
ing the protection of the Archangel Michael for two Neapolitans.
1405. 3. Pietro del Donzello

4. Ippolito, or Polito del Donzello, Pietro's brother. Their best
works are in S. Domenico and Sta. Maria la Nuova and in the
Museum.

(According to Crowe and Cavalcaselle, the pictures attributed to Simone are of a Flemish type of art; and the Donzelli were Florentines by birth and education, while the pictures attributed to them are all different in style.)

1470

5. Silvestro Buono, or de' Buoni, whose masterpiece is in the 1484
Basilica of Sta. Restituta. His pupils were :-

1. Bernardo Tesauro (fl. 1460-1480), whose fresco of the Seven
Sacraments in the ch. of S. Giovanni da Pappacoda (p. 128) has
nearly disappeared.

1475. 2. Giovanni Antonio d'Amato, called Amato il Vecchio, whose best 1555 painting is in the ch. of Sanseverino e Sosio. His pupils

were:

1490. 1. Giovan Vincenzo Corso, who studied also under Perino del 1545 Vaga, and whose masterpiece is the Christ Bearing the Cross, in the ch. of S. Domenico.

1505. 2. Pietro Negroni, from Calabria, whose masterpiece is the Virgin 1565 and Child with St. John, in the Museum.

1506. 3. Simone Papa the younger, whose best works are in the choir of 1567 the ch. of Monte Oliveto.

1598

1535. 4. Giovanni Antonio d'Amato, called Amato il Giovane
1414. ANTONELLO DA MESSINA, who is said to have introduced the Van 1493-6
Eyck method of oil-painting into Italy.

Cola dell' Amatrice (fl. 1514-35), a native of Amatrice in the
Abruzzi, who resided chiefly at Ascoli; two of his good works
may be seen in the Museum of the Lateran at Rome.

1480. ANDREA SABBATINI, called from his birthplace Andrea di 1545
Salerno, a pupil of Raphael, and the founder of the Neapolitan
school in the 16th cent. He was inspired with the determination
of becoming a painter, by Perugino's large painting of the Assump-
tion in the cathedral. He cannot be studied out of Naples,

where his works are numerous, especially in the Museum. His
best pupils were:-

1. Francesco Santafede (fl. 1560).

2. Cesare Turco.

1509. 3. Giovan Filippo Criscuolo, whose best painting is in the ch. of 1584 Sta. Maria Donna Regina, and the Trinity in the Museum.

1520. Francesco Imparato, Criscuolo's pupil, who studied afterwards 1570 under Titian, and whose best pictures are in the Gesù Nuovo and

in S. Pietro Martire.

B.

Polidoro Caldara da Caravaggio came to Naples in 1527, and took
up his residence in the house of his friend Andrea di Salerno.
He painted at Naples many works, which had some influence on
the Neapolitan school. His pupils were:-

D.

1508. 1. Giovan Bernardo Lama, whose best painting is the Deposition 1579 from the Cross, in the Museum.

2. Marco Cardisco, called Marco Calabrese (fl. 1542).

3. Francesco Curia, who was also a pupil of Lionardo da Pistoia

1610

1560. FABRIZIO SANTAFEDE, a son of Francesco. He was so popular an 1634 artist that in 1647 the populace spared a house merely from its having frescos by him. His masterpiece is the Coronation of the Virgin in Sta. Maria la Nuova.

1568. Giuseppe Cesari, called the Cavalier d'Arpino, from his father's 1640
birthplace. He was the head of the school of the Idealisti. His
pupils were:-

Luigi Roderigo, of Messina, and his nephew Giovan Bernardino
Roderigo. They both fl. in the 17th cent.

1558. BELISARIO CORENZIO, a Greek by birth, who studied under Tin- 1643
toretto. He was the leader of a conspiracy formed with Carac-
ciolo and Spagnoletto to prevent foreign painters from working at
Naples. He died by falling from a scaffolding whilst painting
in the ch. of Sanseverino e Sosio.

1580. GIOVAN BATTISTA CARACCIOLO, a pupil of Michelangelo da Cara- 1641 vaggio, and afterwards an imitator of Annibale Caracci. The

picture of S. Carlo in the ch. of S. Agnello is one of his best
works.

1588. GIUSEPPE RIBERA, called LO SPAGNOLETTO, a native of Xativa, 1656
in Spain, or, according to De Dominici, of Gallipoli, in the pro-
vince of Terra d'Otranto, where his parents had settled. He
formed his style chiefly upon the works of Michelangelo da Cara-
vaggio, and became one of the most remarkable of the school
of the Naturalisti. The Deposition from the Cross in the ch. of
S. Martino is considered his masterpiece.

Francesco Fracanzano, a pupil of Ribera, who, having joined in an 1657
attempt of rebellion against the Spaniards, was executed by poison.
His masterpiece is the Death of St. Joseph, in the ch. of the Os-
pedale de' Pellegrini.

Pompeo dell' Aquila, and Marco Mazzaroppi of S. Germano, were
also good painters of the 16th cent., whose best works are at
Aquila, and at Monte Casino.

1585. MASSIMO STANZIONI, Caracciolo's best pupil, called the Guido 1656
of Naples from his attempt to imitate Guido Reni, with whom he
was intimate whilst in Rome. His best works are in the Certosa
of S. Martino. His pupils were:-

1. Francesco, called Pacecco di Rosa

1654

1613. 2. Annella di Rosa, his niece, who was murdered by her husband 1649 through jealousy either of Stanzioni or of her superior powers as

an artist.

3. Agostino Beltrano, who fled for safety to France

1622. 4. Bernardo Cavallino

1665

1656

5. Domenico Finoglia, who painted in the Certosa of S. Martino 1656 1598. 6. Andrea Vaccaro, who at first imitated Michelangelo da Cara- 1670 vaggio, and in his later works Guido.

1600. Aniello Falcone, a pupil either of Spagnoletto or of Stanzioni, or 1665 perhaps of both. He and his pupils, among whom was Salvator