^* Louise K. Stein (lkstein@umich.edu) is Professor of Musicology as well as Early Modern Studies and Latin American Studies at University of Michigan. Her research concerns early modern music and theater, patronage, musical eroticism, the history of singing, and the politics and economics of opera production. She is currently writing about “Opera and the Integration of Public Life in Naples” in the late seventeenth century.

^[1] Thomas Willette, “Giorgio Vasari’s Critique of Art and Patrons in Naples,” in Naples, ed. Marcia Hall and Thomas Willette, Artistic Centers of the Italian Renaissance (New York: Cambridge University Press, forthcoming). I am indebted to Professor Willette for sharing his essay with me before its publication.

^[2] On the history and culture of Spanish Naples, see Giuseppe Galasso, Alla periferia dell’impero: Il regno di Napoli nel periodo spagnolo, secoli XVI–XVII (Turin: Einaudi, 1994); the especially valuable essays in España y Nápoles: Coleccionismo y mecenazgo artístico de los virreyes en el siglo XVII, ed. José Luis Colomer (Madrid: Centro de Estudios Europa Hispánica, 2009); and the freshly informative essays in A Companion to Early Modern Naples, ed. Tommaso Astarita (Leiden and Boston: Brill, 2013).

^[3] See Giorgio Sanguinetti, The Art of Partimento: History, Theory, and Practice (New York: Oxford University Press, 2012), and Robert Gjerdingen,”The Perfection of Craft Training in the Neapolitan Conservatories,” Rivista di analisi e teoria musicale 15 (2009): 26–49.

^[4] Oñate sought to include representatives of the populace and the baroni in the social and material restoration of the city after the revolt; see Ana Minguito Palomares, “La política cultural del VIII conde de Oñate en Nápoles 1648–1653,” in Calderón de la Barca y la España del Barroco, ed. José Alcalá-Zamora and Ernest Belenguer, 2 vols. (Madrid: Centro de Estudios Políticos y Constitucionales, 2001), 1:957–74; Ana Minguito Palomares, “Linaje, poder y cultura: el gobierno de Iñigo Vélez de Guevara, VII Conde de Oriate, en Nàpoles (1648–1653)” (Ph.D. diss., Universidad Complutense de Madrid, 2002); and Ana Minguito Palomares, Nápoles y el virrey conde de Oñate: ‪la estrategia del poder y el resurgir del reino (1648–1653) (Madrid: Silex, 2011).

^[5] Sources for the well-known story include Ulisse Prota-Giurleo, “Breve storia del teatro di corte e della musica a Napoli nei secoli XVII e XVIII,” in Il teatro di corte del Palazzo Reale di Napoli, ed. Felice de Filippis and Ulisse Prota-Giurleo (Naples, 1952), 39–41, and Ulisse Prota-Giurleo, I teatri di Napoli nel secolo XVII, ed. Ermanno Bellucci and Giorgio Mancini, 3 vols. (Naples: Il Quartiere Edizioni, 2002), 3:137–39.

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