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This essay offers an overview of the applied arts in Naples in the high baroque, concentrating on artistic forms that could span from minimal to maximal size and dividing the subject by media (marbles, wood, and silk and silver). It focuses on the relation between architecture and sculptural ornament and revetment, stressing the important role played by the minor arts in the construction of the Neapolitan cantiere. Revisiting available literature on the field, it also casts light on the professional forms of association and partnerships within the architectural workshops and on the artistic interactions at play in the manufacture of the surfaces of buildings.

This thesis offers the first comprehensive interpretation of Spanish architectural patronage in Naples in the kingdoms of Philip II (r. 1556-98) and Philip III (r. 1598-1621) of Habsburg. While focusing on secular architecture, I also take into account the commissioning of major public sculptures and painted cycles, as well as the restoration and recycling of existing monuments and spaces. I analyze the architectural and engineering activity of Domenico Fontana (1543-1607) and his son Giulio Cesare (1580-1627) in Italy and Spain, contextualizing their realized and unrealized projects within a discourse on the cultural politics of the Monarquía Hispánica. In relation to Habsburg imperialism, I contend that the entire city of Naples (\"La Fedelissima\"), participated, at different levels, in the imperial program of the Habsburg monarchy. I discuss the evolution of architectural proficiency and style in Naples in relation to major trends shaping the aspect of other primary capitals of early modern Europe at the turn of the sixteenth century, such as Rome, Palermo, and Madrid. My objective is to cast light on the local functioning of public commissions in order to offer a tentative explanation of the deferred flowering of Baroque architecture in the kingdom of Naples.