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Abstract
Mattia Preti's frescoes of the Immaculate Conception with saints (destroyed), which were painted on seven of the city gates of Naples in response to the plague of 1656, were important works not only in the artist's career and the development of Neapolitan painting, but also in the civic life of Naples. Using the concept of “civic religion,” this article examines the significance of the iconography and the function of the works in the context of local politico-religious concerns involving the Eletti (syndics), viceroys, the Deputies of Health, Jesuits, Theatines, and Neapolitans of every social class.
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Notes on contributors
James Clifton
James Clifton is director of the Sarah Campbell Bluffer Foundation. He has published on Neapolitan art in Storia dell'Arte, Papers in Art History from the Pennsylvania State University, and Ricerche sul ‘600 napoletano. He is currently writing on Salvator Rosa [Sarah Campbell Blaffer Foundation, 12 Greenway Plaza, Suite 716, Houston, Tex. 77046].