The Sicilian Connection: Imperial Themes in Simone Martini’s <i>St. Louis of Toulouse Altarpiece</i>

Norman, Diana

doi:10.1086/675416

Cited by 4 publications

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References 3 publications

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“…This altarpiece, painted on wood and now in the Museo di Capodimonte in Naples, represents Saint Louis of Toulouse crowning his younger brother, King Robert of Anjou (Figure 2) (regarding this image, see: [13][14][15][16][17], [18] (pp. 136-154), [19][20][21][22][23][24], [25] (pp. 133-147)).…”

Section: Simone Martini's Altarpiecementioning

confidence: 99%

Robert of Anjou (1309–1343)

Vagnoni¹

2021

Encyclopedia

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Robert of Anjou King of Sicily (1309–1343). Robert of Anjou was the third king of the Angevin dynasty on the throne of Sicily. He ruled from 1309 to 1343, but, in these years, Sicily was under the domain of the Aragonese dynasty and, hence, his authority was limited to the continental land of the Kingdom and his court was mainly focused in the city of Naples. From an iconographic point of view, he is particularly interesting because, between his official representations (namely, commissioned directly by him or his entourage), he was the first king of Sicily who made use not only of stereotyped images of himself, but also of physiognomic portraits. In particular, this entry focuses on these latter items, comprising the following four artworks: Simone Martini’s altarpiece, the Master of Giovanni Barrile’s panel, the Master of the Franciscan tempera’s canvas, and the so-called Lello da Orvieto’s fresco.

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Section: Simone Martini's Altarpiecementioning

confidence: 99%

Robert of Anjou (1309–1343)

Vagnoni¹

2021

Encyclopedia

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The Monastic in the Dynastic: King Robert of Anjou and Morgan Library and Museum MS M.626

Gallant

2024

I Tatti Studies

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The Porta speciosa of Esztergom •

Takács

2023

AHistA

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This essay was carried out in the framework of a research programme (Thesaurus Mediaevalis, Eötvös Loránd University, Budapest, 2017–2022) funded by the Hungarian Academy of Sciences, and deals with one of the most complex but hardly accessible works of the Árpád period, the former main portal of the Esztergom Cathedral, which was decorated with sculptures and inlaid marble images. It was built in the last decade of the 12th century under King Béla III (1172–1196) and survived the Turkish invasion, but its remains were destroyed during the 19th century construction works. Since then, it exists only in textual sources, depictions and museum fragments. The present work aims primarily to collect and catalogue the fragments, but also to examine the structure of this work of exceptional quality, the artistic orientation of its workshop and the content of the images. It examines questions such as the history of the construction of the building, the sculptural quality of the fragments, which European art centres are related to them (including, in addition to the dominant role of the centres in northern Italy, the Byzantine influence conveyed by the various forms of transport), the circumstances under which the artists could have arrived in the Kingdom of Hungary, the inspiration for their art, what their knowledge and the needs of their clients reveal, and whether there were any interruptions, changes of plan or new beginnings during the construction.

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The Sicilian Connection: Imperial Themes in Simone Martini’s St. Louis of Toulouse Altarpiece

Cited by 4 publications

References 3 publications

Robert of Anjou (1309–1343)

Robert of Anjou (1309–1343)

The Monastic in the Dynastic: King Robert of Anjou and Morgan Library and Museum MS M.626

The Porta speciosa of Esztergom •

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