Abstract

is essay is structured in two distinct parts which are, at the same time, fully related one another. In the first section the purpose is to analyse the use of a rich repertoire of mythological figurations by Vasari and his crew which originates, in many occasions, from the allegories which already existed locally in the frescoes of the Saint Anna dei Lombardi Sacristy in Naples, dated 1544-1545. In the second part, attention is paid to how these representations share more than a point in common with the decorative cycle present in Gambatesa Castle, dated 1550 and made by a painter whose activity still remains undetermined, and who signs himself as Donato Decumbertino.