The historical records of the Aragonese dynasty in Naples were mutilated by the burning by a German patrol of the villa where the most precious documents of the state archives of Naples had been stored for safety during the Second World War. Fortunately, since the time Muratori and his great edition of Rerum Itcdicamm Scriptores, and thanks to the extensive philological work done by scholars and historians of the last century such as Torraca, Croce and D'Ancona, many chronicles and other materials on political and diplomatic history as well as on the history of theatre have been published. It is upon these edited sources that I base my reconstruction of the impact that Catalan culture had upon Italian festival drama through Alfonso the Magnanimous and after him through Ferrante and Ferdinand the Catholic. I have examined, in chronological order, the different ceremonies associated with the monarchy: the triumphs, the entries, the pageantries performed during state occasions, as well as the first theatrical performances at court. While keeping in mind the influence of medieval sacre rappresentazioni, which flourished especially in central Italy, I also examine the Iberian festivals, underlining native Aragonese peculiarities not referable to Italian influences. In the festivals of 1423 in honour of Alfonso V of Aragon I point out those peculiar traits of ceremonies that were forerunners of the magnificent triumph which took place twenty years later. I then turn my attention to the Iberian characteristics in the triumph of 1443, which until now have been attributed by historians to the presence of Florentine merchants in Naples. The year 1452 provides a number of examples of court festivals which show the continued development of the triumphal pageantry as a tool of royal propaganda. Sannazaro's Parse of 1492 on the fall of Granada give us, for the first time, a court festivity complete with vernacular text and stage directions. Finally, Ferdinand II's adventus into Naples in 1506 can be seen as an epitome of nearly a century's practice, with evident allusions to the triumphs of his uncle in 1420 and 1443.