It is the most important and detailed documentation, published up to that time, of the political-military, religious, urban planning, economic and artistic history of 148 cities with their territories, in the 12 provinces constituting the then Kingdom of Naples. A general exposition, with the names of titled personalities, is followed by a long paragraph on the capital. Then, of each urban nucleus, represented in an engraving, the origins and economic interests, the historical events are narrated through the characters in every field, the topography and the monuments, the literary works and the relics of their Saints. The author, Giovan Battista Pacichelli (Rome 1634 - 1695), was born in Rome to parents from Pistoia and graduated at a young age first in theology in Rome and then in law in Pisa. In 1672, appointed Apostolic Prothonotary, he was sent by Clement X as Auditor of the Vatican Nunciature to the peace conference in Cologne. Returning to Rome in 1677, after a long study trip in Germany, Holland and England, he was called to the Court of Parma by Duke Ranuccio II as his adviser, and after about a year sent to the Viceregal Court of Naples to protect the interests the Farnese had in the viceroyalty, in which they were also feudal lords of the city of Castellamare. He remained in Naples for about fifteen years, where he mainly attended to his studies and where he published almost all his works on legal, theological, geographical and topographical-descriptive topics. The most important "The Kingdom of Naples in perspective" was published posthumously and although the Imprimatur is dated 1696, it only saw the light in 1703 due to the economic difficulties of the publishers D. A. Parrino and M. L. Muzio. The work takes up the descriptions of the Kingdom, published during the seventeenth century, by Bacco, Mazzella, D'Engenio and Beltrano, re-proposes the text and differs from them for the numerous illustrations which for the first time depict perspective and flight views of birds of large towns and small towns of the Kingdom, as well as for the General Map of the Kingdom and for the twelve geographical maps of the provinces. The idea of inserting the illustrations, which made the work famous, came from the publishers and was probably inspired by Pietro Bertelli's work "Theatrum Urbium Italicarum" published in Venice in 1599 and by Luigi Bulifon published in 1692. In particular, the perspective view of the city of Naples begins to abandon the seventeenth-century canons and is presented as such, albeit with a poor topographical correspondence. The urban landscape is, as it were, "rectified" according to an ideal line that connects Mergellina with Monte Somma. Similar to the works of Cassiano de Silva (Cfr. Alisio, 1984) the vedutina has 15 topographical references (A-P), including, unusual, the "Vomero". The dedication to the Marquis of Villena, viceroy from 1702 to 1707 (date of the capitulation of Gaeta before the Austrian troops) places the engraving at the end of Spanish sovereignty over the city and the kingdom (see Pane-Valerio, 1988). The specimens of the work with all the views are practically unobtainable and differ many times from each other due to the large number of plates which in turn are often not included in the index. Ceci (1937, p.28) in quoting this work highlights the historiographical importance of the news concerning the Provinces, difficult to find in other books. Bibliogr.: Catalog Lubrano, 1929, p.31; Ceci, Bibliography for the history of figurative arts in Southern Italy, 1937, p.28; Alisio, Naples in the seventeenth century. The views of F. Cassiano Da Silva, 1984; Pane-Valerio, The city of Naples between landscape painting and cartography, 1988; Fera-Morlicchio, Kingdom of Naples and the Two Sicilies. Bibliographic repertoire, 1994, vol.II pp.107-108; Cremonini, Italy in views and geographical maps from 1493 to 1894, 1995.