On June 23, 1586 Count Miranda, viceroy of the Kingdom of Naples, made his entry into Naples and “was received with great acclamations, and the usual ceremonies of a bridge, syndick, and cavalcade.”2 There were fireworks, bonfires, music, dance, food, and even a mock battle between Saracens and Christians. Artists displayed creative ephemera such as triumphal arches and paintings; artisans flaunted their silks, jewels, and gold; and people rejoiced in the celebration of the public space.3 Giant epigrams proclaimed that “there was no need to go to the Orient since the city of Naples was now the source of virtue, grandeur, and riches.”4 Chronicler Scipione Guerra reported that “even if the king himself had been present, the demonstrations of joy and reverence would not have been any more superb or sumptuous.”5 The entrance of the viceroy into the city of Naples coincided with the commemoration of St. John the Baptist. Hence, the entrance of the Spanish viceroy was juxtaposed to a Christian celebration. As such, it embodied a public representation of renewal, prosperity, and benevolence.