Oliviero Carafa

cardinal and diplomat of the Renaissance. Like the majority of his era's prelates, he displayed the lavish and conspicuous standard of living that was expected of a prince of the Church. In his career he set an example of conscientiousness for his contemporaries and mentored his relative, Giovanni Pietro Carafa, who became Pope Paul IV

Archbishopric of Naples (18 November 1458) at a young age, his career was mainly that of a statesman rather than an ecclesiastic. He retained the powerful and lucrative position until 20 September 1484, but kept control of the see at the heart of the Regno by ceding the position to his brother Alessandro, retaining his right to resume it should his brother die, by a papal brief. When that eventuality happened (July 1503), he was archbishop once more, ceding the title to his nephew Bernardino, who died within months, and then to Vincenzo. "What emerges clearly from this complicated pattern of exchanged titles is that Carafa was determined to retain the prestigious and wealthy title of Naples within his family's control."^[6]

Church and received the gratitude of the Roman clergy.^{[citation needed}

see of Chieti in favour of his teenage nephew Giovanni Pietro Carafa, later Pope Paul IV. During Alexander VI's reign, Oliviero gradually gave up his intervention in the Neapolitan affairs and was not engaged in the bull with which the Pope deposed the Aragonese dynasty of Naples in 1501.^{[citation needed}

Subiaco.^[10] In his household his nephew Giampietro Carafa, later Pope Paul IV, received a thorough training in Latin, Greek and Hebrew. There in 1501 the battered Roman marble dubbed "Pasquino" by the Romans was unearthed, and set upon a pedestal at the corner of Piazza di Pasquino and Palazzo Braschi, on the west side of Piazza Navona

Saint Thomas Aquinas,^[11] the chapel was accordingly organized about the theme of the Annunciation. To decorate the chapel, he hired Filippino Lippi in 1488; for the painter, who had made his reputation in Florence, it was his first large-scale fresco.^[12] In the altarpiece, Lippi depicted his patron, kneeling, his lean, bony face, long sharp nose and narrow lips in profile, as Saint Thomas Aquinas presents Carafa to the Virgin Mary.^[11]