20:
47:
Commissioned in April 1622 according to the allocation contract (which survives in Naples' state archives), it was hung on the left wall of the choir of the church that
September and later joined on the same wall by
146:
141:
131:
58:. It marked Caracciolo's triumphant return to Naples after a long absence, probably involving a visit to Rome, work in Genoa and a stay in Florence.
54:
136:
110:
Il programma iconografico del coro della
Certosa di San Martino: dal Cavalier d'Arpino a Massimo Stanzione
36:
32:
19:
49:
125:
94:
The Ethics of
Ornament in Early Modern Naples: Fashioning the Certosa di San Martino
39:
in Naples, where it still hangs. It is held to be one of the artist's masterpieces.
81:
Pittura del
Seicento a Napoli - da Caravaggio a Massimo Stanzione
147:Paintings of Christ washing the disciples' feet
8:
72:
70:
18:
142:Paintings in the Certosa di San Martino
66:
16:1622 painting by Battistello Caracciolo
7:
83:, Napoli, Arte'm, 2008, pp. 177-178.
31:is a 1622 oil on canvas painting by
132:Paintings by Battistello Caracciolo
14:
28:Christ Washes the Disciples' Feet
1:
163:
96:, Londra, 2015, p.159.
37:Certosa di San Martino
35:for the church of the
33:Battistello Caracciolo
23:
116:, I, 2015, pp. 18-25.
22:
92:J. Nicholas Napoli,
108:Stefano Pierguidi,
114:Napoli Nobilissima
24:
154:
117:
107:
103:
97:
90:
84:
79:Nicola Spinosa,
78:
74:
162:
161:
157:
156:
155:
153:
152:
151:
122:
121:
120:
105:
104:
100:
91:
87:
76:
75:
68:
64:
55:The Last Supper
45:
17:
12:
11:
5:
160:
158:
150:
149:
144:
139:
137:1622 paintings
134:
124:
123:
119:
118:
98:
85:
65:
63:
60:
44:
41:
15:
13:
10:
9:
6:
4:
3:
2:
159:
148:
145:
143:
140:
138:
135:
133:
130:
129:
127:
115:
111:
102:
99:
95:
89:
86:
82:
73:
71:
67:
61:
59:
57:
56:
51:
42:
40:
38:
34:
30:
29:
21:
113:
109:
106:(in Italian)
101:
93:
88:
80:
77:(in Italian)
53:
46:
27:
26:
25:
126:Categories
62:References
43:History
50:Ribera
112:, in
52:'s
128::
69:^
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
