This essay presents new documentary evidence concerning Paolo Finoglio's Neapolitan years, which have so far received less attention than his better-known activity in Apulia. In particular, the discovery of the marriage proceedings or “processetto” of his daughter Beatrice (1633) makes it possible to clarify key aspects of the artist's biography and establish more precisely the chronology of his second Neapolitan production, marked by an assimilation of the stylistic models of Battistello Caracciolo and Ribera. Within this context, the essay also advances the attribution to Finoglio of a rare 'Martyrdom of Saint Lawrence', now preserved in Madrid.