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Norman, Diana
(2010).
DOI: https://doi.org/10.1111/j.1467-8365.2010.00768.x
Abstract
Opinion remains divided about the meaning and original function of Simone Martini’s early fourteenth-century Saint Louis of Toulouse altarpiece, some maintaining that it was primarily a cult image, designed to celebrate the recent canonisation of a Franciscan saint, others that it was a dynastic image, justifying Robert of Anjou’s succession to the Neapolitan throne. One way of resolving such an issue is to establish the painting’s original location. This article explores three possible sites in Naples in terms of different kinds of historical evidence linking these locations with the altarpiece and with the Angevin royal family. It concludes that one of these constitutes the most plausible setting for the Saint Louis of Toulouse altarpiece and that such a location clarifies the relative priorities of politics and piety for this highly prestigious commission.
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About
- Item ORO ID
- 24679
- Item Type
- Journal Item
- ISSN
- 1467-8365
- Project Funding Details
-
Funded Project Name Project ID Funding Body Not Set Not Set British Academy - Academic Unit or School
-
Faculty of Arts and Social Sciences (FASS) > Arts and Humanities > Art History
Faculty of Arts and Social Sciences (FASS) > Arts and Humanities
Faculty of Arts and Social Sciences (FASS) - Copyright Holders
- © 2010 Association of Art Historians
- Depositing User
- Diana Norman