Abstract
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.
Highlights
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In the first group are representations connected with public employments and representing Robert in his institutional role of King. They are the royal images on bulls and seals; the representations of the monarch on the coins minted in the Kingdom of Sicily, in central and northern Italy, and in Provence; and the statue sculpted by Tino da Camaino in approximately 1325 for the sarcophagus of Mary of Hungary in the presbytery of the Church of Santa Maria Donnaregina in Naples
The image visually foreshadowed, to the friars of the Convent of San Lorenzo Maggiore in Naples, Robert of Anjou achieving eternal life, probably thanks to the prayers that the same friars performed in front of the altar where the panel was placed (for more details and bibliographic references about this interpretation, see [12])
Summary
Publisher’s Note: MDPI stays neutral with regard to jurisdictional claims in published maps and institutional affiliations. In the first group are representations connected with public employments and representing Robert in his institutional role of King (he is depicted while seated on a throne bearing a crown, sceptre, and globe) They are the royal images on bulls and seals; the representations of the monarch on the coins minted in the Kingdom of Sicily, in central and northern Italy, and in Provence; and the statue sculpted by Tino da Camaino in approximately 1325 for the sarcophagus of Mary of Hungary in the presbytery of the Church of Santa Maria Donnaregina in Naples The image visually foreshadowed, to the friars of the Convent of San Lorenzo Maggiore in Naples, Robert of Anjou achieving eternal life, probably thanks to the prayers that the same friars performed in front of the altar where the panel was placed (for more details and bibliographic references about this interpretation, see [12] (pp. 111–130))
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