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Fedele Fischetti and the Gallery of the Royal Casino of Carditello in Caserta (Italy)
International Journal of Literature and Arts
Volume 7, Issue 2, March 2019, Pages: 54-60
Received: Oct. 14, 2018; Accepted: May 21, 2019; Published: Jun. 26, 2019
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Antonella Diana, The Royal Palace of Caserta, Caserta, Italy
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The Royal residence of Carditello, known as “ Royal Casino”, is considered one of the most beautiful and architecturally refined Reali Delizie “ville de delizie“ made by King Ferdinand of the house of Bourbon. Commissioned in the spring of 1784 for the purpose of providing necessary rural housing for the King’s animals, processing related products, and providing housing for staff, Carditello was much loved by the King. In 1787, work began on building up the small “Casino” (or “country house”) designed by Francesco Collecini. Fully furnished, the royal residence made a display of beautiful curtains, a rich art gallery and a multitude of books, as documented by the first inventory of the site, prepared immediately after its completion in 1792. In the official documents called Amministrazione di Carditello e Calvi - Conti e Cautele preserved in the Historical Archives of the Royal Palace of Caserta, there are various records that attest to the payments for work done at the apartment of the king in "Cardito" by Fedele Fischetti, and thanks to them we have been able to reconstruct the existence of works by the Neapolitan Fischetti in the Gallery of Carditello. The Gallery of Carditello, which was the main hall of the building, was commissioned and intended to be the more opulent and richer space in the apartment where Fedele Fischetti painted the frescos on the vault, drew the preparatory models of tapestries and perhaps prepared the designs for the magnificent and expensive furniture of French production.
Royal Casino of Carditello, Bourbon Dynasty, Fedele Fischetti, Neapolitan Painter, Archival Documents
To cite this article
Antonella Diana, Fedele Fischetti and the Gallery of the Royal Casino of Carditello in Caserta (Italy), International Journal of Literature and Arts. Vol. 7, No. 2, 2019, pp. 54-60. doi: 10.11648/j.ijla.20190702.14
Copyright © 2019 Authors retain the copyright of this article.
This article is an open access article distributed under the Creative Commons Attribution License ( which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.
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Historical archive of the palace of Caserta, Platea del Real Sito di Caserta formata per ordine di S M. Francesco I, Amministratore cavalier Sancio, vol. IV, Stato di Carditello e Calvi, v. 3571, post 1834. The document contains the general description of the Real Site of Carditello and buildings existing in the same.
In the fund called Amministrazione di Carditello e Calvi _ Conti e Cautele, kept at the ARC, shows expense of the workers, the technical expertise of the work done and the contracts. The numerous documents allow us to identify the different workers involved; see L. Migliaccio, Rivisitando Carditello. Nuove acquisizioni archivistiche, in “Bollettino di informazione: tutela, restauro, contributi, iniziative, mostre, manifestazioni”, n. 4, Caserta 1998.
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On the activity of Francesco Collecini, cfr. R. Serraglio, Francesco Collecini. Architettura del secondo Settecento nell’area casertana, Naples 2001 and the bibliography cited therein.
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R. Lattuada, Neapolitan painting in his dealings with Luigi Vanvitelli and the court of Caserta, in The House of the King. A Century of History of the Royal Palace from 1752 to 1860, (in cd) R. Cioffi, Milan, 2004 p. 95.
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A. Diana, L’arredamento del Casino Reale di Carditello, in “Siti Reali e Territori”, cit. p. 32; A. González Palacios, L’arredamento del Real Casino di Carditello in “Nostalgia e invenzione, Arredi e arti decorative a Roma e Napoli nel Settecento”, Milan, 2010, p. 124. The greater marchand-mercier Paris, Dominique Daguerre (? - London 1796) was associated, since 1772, with the famous merchant Simon- Philippe Poirier at the store site in the rue Saint-Honoré, A la Couronne d'or, where he provided the courts and the aristocracy of half Europe. Sole proprietor of the shop in 1777, since 1787 visit London to open a shop of Sevres porcelain. In May of 1789 with a contract of association with Martin-Eloy Lignereux (1750-1809). Daguerre had sensed the climate in France after the fall of the Bastille and the relentless fall of the ancient regime therefore began to take the necessary steps to expand its business outside France. The career of our merchants, we can define the extraordinary, they are the first merchants of luxury is at the court in Paris is within the imperial Russian and English. Their prices and their taste was considered exceptional and the secret - in the tradition of Poirier - remained to use only the most precious materials and the collaboration of the best architects of Paris, such as cabinetmakers Martin Carlin and Adam Weisweiler and bronze workers Pierre Gouthière and François Remond.
The deeds of Henry IV, in the original language of Francois Marie Arouet The Henriade de Voltaire (Paris 1694 - 1778 therein). Youthful poem, published clandestinely and in abbreviated form in 1722-23 under the title "La Ligue ou Henry Le Grand..."
A signature of Wilhelm Tischbein, Philipp Hackert and Francesco Collecini - dated May 2 1791- is the skill in which "rating for 2600 ducats the frescoes by Fischetti in Lamia gallery casino Carditello, depicting the Apotheosis of Errico IV" ARC, series Amministrazione Carditello e Calvi, v. 622, f. 9, v. 623, f. 40-41, already in L. Migliaccio, Rivisitando Carditello. Nuove acquisizioni archivistiche, in “Bollettino di informazione: tutela, restauro, contributi, iniziative, mostre, manifestazioni”, n. 4, Caserta 1998, p. 79, note 33.
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A. Diana, La nascita della dinastia Borbone nella volta della Galleria del Casino di Carditello, in “Siti Reali e Territorio”, cit., p. 25.
(September 19, 1551-1589) son of Catherine de 'Medici and Henry II. Within the religious war that broke out in France between 1562 and 1598, after the Edict of Amboise and the [events of the night of St. Bartholomew], we are witnessing the so- called "War of the Three Henrys", an internal conflict involving Henry III, Henry of Guise (the voice of intransigent Catholicism) and Henry of Navarre, a Huguenot and, later, the first representative to the throne of the Bourbon family, that occurred between 1585 and 1589. The events of that conflict, which will result in the murder of both Henry of Guise and of Henry III, will be resolved only with the promulgation of the Edict of Nantes in 1598. The civil and religious war that divided France between 1562 and 1598 was one of the most dramatic religious wars that plagued Europe in the sixteenth and seventeenth centuries. As a result of the Lutheran and Calvanist reformantions, the war between Huguenots and Catholics that occurred in France, also represented a conflict between political factions for control of the country and was one of the most significant moments of the process that led to the formation of a state.
«Almost to specify that the Bourbon dynasty is not born by chance but is the result of a project" [upper] ", wanted by the true" Light ", which refers to the female figure as a witness signifier: architecture (team, compass and levels), sculpture (hammer and chisel), painting (palette and brushes), science (globe and telescope), knowledge (an open book and another closed) and the art of war (a sword and a helmet)».
«Obvious references to Masonic culture are: the signs of the zodiac, the number five, how many are the Bourbon kings represented, open book, the acacia branch, the temple. In particular the construction of a temple ideal based on the exercise of virtue - whose design is inspired by that of King Solomon in Jerusalem - is one of the ultimate goals of the ideology and commitment of Masonic Masons, as it is known, is the 'building of the temple the ideal of their existence, a temple that was to be built through the exercise of reason, the practice of virtue and brotherhood » in A. Diana. La nascita della dinastia Borbone nella volta della Galleria del Casino di Carditello, in “Siti reali e Territorio”, cit., p. 25.
R. Lattuada, Neapolitan painting in his dealings with Luigi Vanvitelli and the court of Caserta; F. Strazzullo, Lettere di Luigi Vanvitelli, vol. II, letter n. 707.
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