136 - Palanquin. Naples, 18th century. Carved and gilded wood, embellished with elegantly painted panels depicting mythological and allegorical scenes attributed to the workshop of the painter Francesco De Mura (Naples, 1696–1782). Green silk interior. 84 × 115 × 180 cmhttps://drivegoogle.com/drive/folders/1rxQjID4IN3tEyGik_ZSv9tRoC2xudME8 The carriage features a rectangular body with sinuous lines, equipped with a hinged door and five glazed windows. Carvings featuring scroll motifs, foliage, and other rocaille elements inspired by nature frame the opening, the five windows of the passenger compartment, and the painted panels, while the roof and rear are upholstered in leather decorated with studs. The iconographic program celebrates classical mythology. The front depicts the encounter between Diana and Endymion: the goddess, descending from a cloud and recognizable by the characteristic crescent moon on her head, bends down to touch the young shepherd immersed in an eternal sleep, watched over by his hunting dogs, while a blindfolded Cupid directs the scene with his bow drawn. The reverse side depicts the triumph of Bacchus and Ariadne, while the sides feature, respectively, Hercules at rest and Narcissus, framed by lively groups of musical cherubs. Given its stylistic refinement and painterly quality, the work can be attributed to the prolific Neapolitan artistic milieu of the 18th century. During the reigns of Charles III and Ferdinand IV of Bourbon, the creation of these luxurious modes of transportation required the coordinated collaboration of numerous specialized craftsmen. The construction process combined the skill of the guarnamentaro—a highly skilled carpenter and upholsterer who lined the wooden interior with silks and fine fabrics—with the talent of woodcarvers, sculptors, silversmiths, and painters specializing in panel paintings, landscapes, and figures. Many great masters of the era tried their hand at designing and decorating carriages and sedan chairs; among them, the woodcarver Gennaro Di Fiore and the painters Francesco Solimena, Francesco De Mura, Filippo Falciatore, and Fedele Fischetti stand out. The ornate extravagance of these artifacts made them a true display of prestige for the Neapolitan nobility, who thus showcased their economic power and wealth on the city’s streets. They were thus conceived not only as means of transportation but as true works of art.