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MATER SERENISSIMI PRINCIPIS: The tomb of Maria of Hungary

Tanja Michalsky

The tomb of Maria of Hungary (d. 25 March 1323), wife of King Charles II of Anjou (d. 5 May 1309), was completed in the workshop of Tino di Camaino, with the help of the Neapolitan architect Gagliardo Primario, between February 1325 and May 1326 (plate ix).' The dating and attribution are known from a number of documentary sources: the record of the execution of Maria's will, an order of marble m a d e by her son Robert of Anjou on 21 February 1325, as well as the payment made to the artists.

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The monument is in very good condition and its dense programme and artistic quality make it one of the most important works among the Angevin tombs in Naples. The design and the material of this central Italian wall-tomb have been

orchestrated in order to express the splendour of the anointed royal house, the virtues of the dead Queen, and the legitimacy of the rule of the reigning King Robert of Anjou. This is the major achievement of the Angevin tombs made in the workshop of Tino di Camaino under the patronage of Robert of Anjou:

not only do they commemorate the individual, they also offer a resplendent memorial to the entire ruling family. In this way, the image of the dynasty is present in a number of prominent locations in Naples including several of the city's churches, many of which were founded at the instigation of the female members of the family. It is important to recall this context in order to understand the design and programme of Maria's tomb. Charles I had envisioned a central mausoleum in the cathedral of Naples. The renunciation of this project by the next generation of Angevins resulted in the need to develop a dynastic iconography for each single monument.

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Maria's was the second tomb made during Robert's rule. The earlier tomb of Catherine of Austria provided a model after which Maria's tomb was more carefully planned and designed.

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The sculptural presentation of permanent memory is staged within the well-proportioned baldachin of white marble which encloses the sculpture. The sarcophagus hovers above the heads of the four cardinal virtues as if carried by invisible forces. Above the sarcophagus, angels ceremonially open a curtain for the onlooker, which reveals the camera funebris, in which the dead Queen lies in state under an artfully draped cloth

decorated with her insignia (figs 17 and 21). On the roof of the camera funebris the enthroned Virgin and Child receive Maria's soul, presented by an angel Originalveröffentlichung in: Elliott, Janis (Hrsg.): The Church of Santa Maria Donna Regina :

act, iconography and patronage in fourteenth-century Naples. Aldershot [u.a.] 2004, S. 61-77 und Abb.

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to t h e left c a r r y i n g a c r o w n i n d i c a t i n g M a r i a ' s s t a t u s . O n b e h a l f of h e r n a m e s a k e , t h e Virgin M a r y i n t e r c e d e s w i t h C h r i s t w h o h a s a l r e a d y t u r n e d t o w a r d s t h e k n e e l i n g f i g u r e of M a r i a of H u n g a r y . To t h e r i g h t , in s u p p o r t of M a r i a ' s h o p e s f o r s a l v a t i o n , a m o d e l of t h e c h u r c h of S a n t a M a r i a D o n n a R e g i n a , as a s i g n f o r h e r d o n a t i o n , is p r e s e n t e d to t h e Virgin M a r y b y a n o t h e r a n g e l (fig. 19). F r o m t h e trefoil of t h e g a b l e , G o d t h e F a t h e r b l e s s e s t h e s c e n e , a n d t h e c r o s s e d k e y s of St Peter, h i s r e p r e s e n t a t i v e o n e a r t h , d e c o r a t e t h e s h i e l d of t h e f i g u r e s t a n d i n g o n t h e a p e x of t h e g a b l e .

In t h i s c h a p t e r , I will d i s c u s s t h r e e s e p a r a t e f a c e t s of t h i s m u l t i v a l e n t m o n u m e n t : r e l i g i o u s a n d liturgical c o n c e r n s r e l a t i n g to M a r i a a n d h e r p e r s o n a l s a l v a t i o n , d y n a s t i c a n d p o l i t i c a l a s p e c t s , a n d t h e e x p r e s s i v e q u a l i t i e s p r o v i d e d t h r o u g h t h e e x p e r t i s e of T i n o d i C a m a i n o a n d h i s w o r k s h o p .

T h e t o m b ' s p r i m a r y f u n c t i o n is a s a d i g n i f i e d r e s t i n g p l a c e f o r M a r i a of H u n g a r y . M a r i a ' s h o p e s f o r s a l v a t i o n a r e e x p r e s s e d in t h e i c o n o g r a p h y of t h e t o m b . T h e f i g u r e s a b o v e t h e camera funebris i n d i c a t e t h a t t h e Q u e e n h o p e d f o r a p e r s o n a l i n t e r c e s s i o n f o r h e r s o u l , a commendatio animae, b e c a u s e of h e r d o n a t i o n s to t h e c o n v e n t , w h i c h i n c l u d e d t h e t o m b itself. T h e c a r e of M a r i a ' s s a l v a t i o n w a s officially r e g u l a t e d , in p a r t t h r o u g h t h e f o u n d a t i o n of a n n u a l e x e q u i e s f o r w h i c h a p a y m e n t of six g o l d o u n c e s f i f t e e n tareni is d o c u m e n t e d .

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T h e v i s u a l p r o g r a m m e of t h e t o m b is t h e r e f o r e b a s e d o n t h e belief t h a t s a l v a t i o n is o b t a i n e d b y f o l l o w i n g t h e p r e c e p t s of t h e C h u r c h , w h i c h a l o n e e n s u r e d a p l a c e in h e a v e n . T h e m a i n t e n e t of t h i s f a i t h w a s t h e belief in t h e r e s u r r e c t i o n of t h e b o d y a n d s o u l . T h e r e f o r e , t h e s a r c o p h a g u s of t h e d e a d Q u e e n is s u p p o r t e d b y c a r y a t i d s r e p r e s e n t i n g t h e c a r d i n a l v i r t u e s : Prudentia, Temperantia, Iustitia (fig. 20) a n d Fortitudo. By p e r s o n i f y i n g M a r i a ' s v i r t u e s , t h e y a p p e a r t o c a u s e t h e s a r c o p h a g u s to h o v e r a b o v e t h e m . A s a l r e a d y m e n t i o n e d , t h e p e r s u a s i v e a r g u m e n t s f o r t h e commendatio animae a r e v i s u a l i z e d o n t h e roof of t h e camera funebris, w h e r e t h e a n g e l t o t h e left

h o l d i n g t h e c r o w n a n d t h e a n g e l to t h e r i g h t h o l d i n g t h e m o d e l of t h e c h u r c h a d d r e s s t h e e n t h r o n e d Virgin M a r y a n d r e f e r to Q u e e n M a r i a ' s s t a t u s a n d d o n a t i o n . T h e gisant e n c l o s e d b y t h e camera funebris c o n c e r n s t h e

c o m m e m o r a t i o n of t h e d e c e a s e d a n d t h e s p e c i f i c l i t u r g i c a l memoria (fig. 21).

Significantly, t h e p a r t of t h e i n s c r i p t i o n c a r v e d o n t h e e l e g a n t l y s l o p i n g

s u r f a c e s of t h e c h a m b e r r e f e r s to t h e d a y of M a r i a ' s d e a t h a n d t h e r e l e v a n t

r e a d i n g s of t h e m a s s . M a r i a ' w h o d i e d in t h e y e a r of t h e L o r d 1323 (sixth

i n d i c t i o n ) o n 25 M a r c h , m a y h e r s o u l rest in p e a c e ' .

6

F o l l o w i n g Italian t o m b

t r a d i t i o n M a r i a is s h o w n d e a d , d r e s s e d in h e r r o y a l v e s t m e n t s a n d h o l d i n g

t h e r o y a l i n s i g n i a in h e r h a n d s . H e r y o u t h f u l , i d e a l i z e d f a c e is s l i g h t l y

t u r n e d to t h e r i g h t , a l l o w i n g it to b e s e e n m o r e e a s i l y b y t h e v i e w e r . A

c o m p a r i s o n of t h e c a r v i n g of h e r h e a d w i t h t h e o t h e r s u r v i v i n g f e m a l e

e f f i g i e s f r o m t h e w o r k s h o p of T i n o d i C a m a i n o - C a t h e r i n e of A u s t r i a in S a n

L o r e n z o M a g g i o r e a n d M a r i a of Valois in S a n t a C h i a r a - c l e a r l y s h o w s t h a t

in all t h r e e c a s e s t h e s t y l i z a t i o n of t h e s o f t r e g u l a r i t y of t h e f e a t u r e s w a s

c o n s i d e r e d m o r e i m p o r t a n t t h a n i n d i v i d u a l c h a r a c t e r i z a t i o n . It c o u l d b e s a i d

t h a t t h e b o d y is r e p r e s e n t e d as t h e e a r t h l y f r a m e of t h e v i r t u o u s a n d

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Tanja Michalsky 63

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19 Tino di Camaino, Angel Presenting a Model of Santa Maria Donna Regina, detail of the Tomb of Maria of Hungary

therefore beautiful soul, but it also functions as the repository of royal

symbolism and should not be seen as the body of an individual.

7

The first

part of the inscription, on the platform beneath the Virgin, makes it clear

how strongly Maria was defined by her dynastic position. The inscription

traces her genealogical connections with powerful Angevin and Arpad

rulers:

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20 Tino di C a m a i n o , justice, detail of the T o m b of Maria of H u n g a r y

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Tanja Michalski/ 65

"V/

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Here rests in honourable memory the most excellent Lady, Lady Maria, through God's grace Queen of Jerusalem, Sicily and Hungary, daughter of the magnificent Count Stephen, formerly through God's grace King of Hungary, and widow of Count and Lord Charles II of bright memory and mother of his serene highness Count and Lord, Lord Robert also through God's grace the illustrious King of the aforementioned Kingdoms of Jerusalem and Sicily."

The liturgical context of the placing of the body on the bier is emphasized by the two deacons with holy water and incense standing behind the gisant. This motif had been known since the thirteenth century in central Italian tombs and serves to visualize the imaginary celebration of the mass. The iconography of the sarcophagus is innovative in that it does not portray the arms of the Queen unlike, for example, the heraldry found on the tombs of Roman clerics," or Passion scenes as a well-known sign of salvation, as in the tomb of Cardinal Riccardo Petroni in Siena (fig. 22)."' In fact, the sarcophagus can be linked only indirectly to Maria's personal hopes of salvation. Eleven of the Queen's children are enthroned in Gothic niches around the

sarcophagus. These include Charles Martel (d. 1296), Robert of Anjou, several living and several dead dukes, and Saint Louis of Toulouse (plate x), whose canonization in 1317 bestowed particular honour on the royal house." As the mother of the Saint, Maria of Hungary had no need to rely on a distant intercessor, but had the honour of being able to turn to her own son for

21 Tino di Camaino, Gisant of Queen Maria from above, detail

of the Tomb of

Maria of

Hungary

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22 Tino di Camaino, Tomb of Cardinal Petroni, Siena Cathedral, 1317

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intercession in the next world.

12

Pope John XXII wrote to the Queen in 1317 that she should rejoice, because from her womb had sprung such a saint who could now pray for her to God.''

The sculpture and the inscriptions on the tomb build a case for Maria's

salvation which can be summarized as follows: Maria of Hungary was

descended from royal ancestry and her virtues were an expression of her

noble birth, she was married to a king and had given birth to a ruling king as

well as a saint, and she was a patron of the Clarissan convent of Santa Maria

Donna Regina. Her memory is preserved on the tomb in sculptural and

liturgical terms. The demand for intercession forms part of the pictorial

programme. In this sense the iconography has its place among contemporary

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Tanja Michalsky 67

c e n t r a l Italian effigial w a l l t o m b s . '

4

T h i s t y p e of t o m b o f f e r e d , m o r e o v e r , a p e r f e c t v e h i c l e f o r political a n d d y n a s t i c e x p r e s s i o n .

T h e t o m b of a Q u e e n s e r v e s to c o m m e m o r a t e t h e w h o l e d y n a s t y . M a r i a of H u n g a r y ' s t o m b a c h i e v e s t h i s t a s k in a h i g h l y i n n o v a t i v e m a n n e r . T h e reliefs o n t h e s a r c o p h a g u s a s w e l l a s t h e c a r y a t i d s a r e u s e d t o m a k e a d y n a s t i c a n d political s t a t e m e n t . O n t h e f r o n t a s w e l l as o n t h e s h o r t e r s i d e s of t h e

s a r c o p h a g u s M a r i a ' s s o n s c a n b e s e e n s e a t e d o n t h r o n e s . T h i s r e p r e s e n t a t i o n

r e f e r s n o t o n l y to M a r i a ' s m a t e r n a l role, b u t a l s o to t h e c o n c e p t of t h e p o w e r

d r a w n f r o m t h e c o n t i n u i t y of t h e r o y a l d y n a s t y o v e r s e v e r a l g e n e r a t i o n s . T h e

a r g u m e n t a t i o n is b u i l t o n t h e r e l a t i o n b e t w e e n m e m o r y a n d l e g i t i m a c y

b e c a u s e t h e c o m m e m o r a t i o n of t h e d e a d a n d t h e l e g i t i m a c y of t h e i r s t a t u s a r e

e s t a b l i s h e d w i t h i n t h e c o n t e x t of t h e c o n t i n u a t i o n of t h e g e n e r a t i o n s . In t h e

c a s e of t h e t o m b of M a r i a of H u n g a r y , t h i s s e r v e s t o exalt t h e d e a d Q u e e n a n d

h e r successors.'

5

T h e A n g e v i n m o n u m e n t s a r e p a r t i c u l a r l y s u c c e s s f u l b e c a u s e

t h i s level of m e a n i n g w a s i n c o r p o r a t e d at t h e d e s i g n s t a g e to m a k e t h e

political s t r u c t u r e of a r i s t o c r a t i c memoria v i s u a l l y e v i d e n t u s i n g a n e w

l a n g u a g e of i m a g e r y . It is t h e r e f o r e likely t h a t t h e s e v e n relief f i g u r e s o n t h e

f r o n t of M a r i a ' s s a r c o p h a g u s r e p r e s e n t t h o s e s o n s w h o s u c c e e d e d t o

d y n a s t i c a l l y i m p o r t a n t p o s i t i o n s , t h o u g h a lack of a t t r i b u t e s m a k e s t h e i r

i n d i v i d u a l i d e n t i f i c a t i o n d i f f i c u l t ( p l a t e s ix, x). It is clear, h o w e v e r , t h a t t h e

s a i n t b i s h o p Louis of Toulouse h a s b e e n g i v e n t h e c e n t r a l p l a c e of h o n o u r . H e

w e l c o m e s t h e a u d i e n c e w i t h a b l e s s i n g . If t h e r e is a h e r a l d i c o r d e r t o t h e

p r o g r a m m e t h e f i g u r e to t h e r i g h t of L o u i s is t h e r u l i n g k i n g , R o b e r t of A n j o u ,

h o l d i n g a r a i s e d s c e p t r e . To t h e left of t h e s a i n t , M a r i a ' s f i r s t b o r n C h a r l e s

M a r t e l h o l d s a l o w e r e d s c e p t r e w h i c h p r o b a b l y i n d i c a t e s h i s e a r l y d e a t h .

F u r t h e r to t h e left a n d t h e r i g h t a r e e n t h r o n e d t h e less i m p o r t a n t s o n s of

M a r i a w h o w i e l d e d d u c a l p o w e r . ' " L o u i s of T o u l o u s e is f l a n k e d b y t h e h e i r s

to t h e t h r o n e of H u n g a r y a n d Sicily, a n d t h e i m p o r t a n c e of t h e f i g u r e s

d i m i n i s h e s t o w a r d s t h e o u t e r s i d e s . T h e w o r l d l y h i e r a r c h y is t h u s s e c o n d a r y

to t h e h e a v e n l y h i e r a r c h y . T h e fact t h a t L o u i s of T o u l o u s e t a k e s t h e p l a c e of

h o n o u r o n t h e s a r c o p h a g u s s h o w s t h a t t h i s is n o t m e r e l y a r e p r e s e n t a t i o n of

t h e d e s c e n d a n t s of t h e Q u e e n . Specific e m p h a s i s is p l a c e d o n t h e s a n c t i t y of

t h e d y n a s t y as d e m o n s t r a t e d b y L o u i s . T h e o n l y e x c e p t i o n to t h e p r e c e d e n c e

a c c o r d e d t o t h e h e a v e n l y h i e r a r c h y is t h e s p e c i a l p l a c e of h o n o u r g i v e n to t h e

Q u e e n , as b e f i t t i n g t h e m o t h e r of a saint.'

7

T h e s e c o n c e p t s w e r e e x p r e s s e d f o r

t h e b e n e f i t of a n a u d i e n c e t h a t r e m a i n s d i f f i c u l t to d e f i n e . " It is clear t h a t s u c h

a p i c t o r i a l p r o g r a m m e o n a r o y a l t o m b s e r v e s to u n d e r l i n e t h e c o n c e p t of t h e

beat a stirps, a c c o r d i n g to w h i c h t h e d e s c e n t f r o m a c h o s e n d y n a s t y b l e s s e s t h e

s p e c i f i c r e g e n t a n d justifies h i s r o y a l p o w e r . T h e A n g e v i n s w e r e a b r a n c h of

t h e C a p e t i a n s a n d it is w e l l k n o w n t h a t t h e y a d o p t e d t h e C a p e t i a n c o n c e p t of

s a c r e d k i n g s h i p a n d i m p o r t e d it to Italy w h e n t h e y r e p l a c e d t h e g o v e r n m e n t

of t h e H o h e n s t a u f e n . ' " R e s e a r c h o n t h e saintete du lineage s i n c e t h e 1970s h a s

s h o w n t h a t t h e c o n c e p t of s a c r e d k i n g s h i p a m o n g t h e C a p e t i a n s d e v e l o p e d

in t h e p r e v i o u s c e n t u r i e s a n d w a s b r o a d l y a c c e p t e d b y t h e t h i r t e e n t h

century.

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" A c c o r d i n g to V a u c h e z , t h e a l l i a n c e b e t w e e n t h e F r e n c h A n g e v i n s

a n d t h e H u n g a r i a n A r p a d s t h r o u g h m a r r i a g e is o n e r e a s o n w h y t h e i d e a of a

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sacred dynasty, otherwise almost outdated, endured longer in those parts of Europe governed by these houses."

The iconographic p r o g r a m m e of the sarcophagus can therefore be understood as a political statement by King Robert of Anjou, w h o justified his own rule through his mother's tomb. Two main concerns are emphasized:

Robert's descent from the houses of H u n g a r y and France, and his

assumption of power in the place of his older brother Louis of Toulouse, w h o had exchanged worldly power for a saintly life. Robert was Maria of

Hungary's third son and several challenges to his authority m a d e such a justification necessary. For example, his claim to the throne was disputed by Carobert of Hungary, firstborn son of Robert's eldest brother Charles Martel w h o had inherited the throne of Hungary from Maria. Bartholomew of Capua, in a speech given in 1309 on the occasion of Robert's coronation, exploited every rhetorical possibility in support of Robert's claim to the throne. The theme of the speech was taken from Jesus Sirach's Coronavit aron in vasis virtutis. The arguments that were used to support Robert's claim to the throne were that Robert was a descendant from the French royal house - 'he is the son and grandson of two preceding kings of Sicily and other relatives were kings w h o descended from the royal dynasty of the kings of France'

22

- and that Robert of Anjou had been given permission to inherit the Neapolitan throne by Boniface VIII.

2

'

The celebrated panel of Saint Louis of Toulouse, painted by Simone Martini probably in 1317, in the wake of the canonization of the saint (fig. 18), clearly shows that the legitimization of the succession to the throne and the

prominent exhibition of the chosen dynasty held a position of immense importance in contemporary Angevin iconography.

24

Recent research suggests the painting was first exhibited in the royal chapel of the cathedral in which the tombs of the first generation of Angevins were erected.

25

This was the first and, to judge from the remaining evidence, the most important painting of the Franciscan saint. Contrary to traditional Italian

representations of saints on altar panels where the saint is portrayed alone, Saint Louis is moved slightly to the left of the central axis of the painting and is depicted crowning his brother Robert. In this way, the imago of the saint has been modified to become a scenic representation of the Angevin self-image.

26

Although the painting was important as a cult image of the saint, it also depicts a narrative event, that of the coronation. It shows angels setting a heavenly crown on the head of Louis of Toulouse, while Louis passes his worldly crown to Robert, w h o is kneeling to his right, dressed in his

coronation vestments.

27

This image can be understood, on the one hand, as a

pictorial representation of a hagiographical topos: celestial power given to

the saint in recompense for the worldly power that he renounced. On the

other hand, it can be understood as a pictorial representation of historical

events: Louis's renunciation of the crown of Sicily, which as a result passed to

Robert. This pictorial fixing and legitimation of Robert's claim to the throne

of Naples is the central motif of the image and affects the representation of

the Saint himself. Although, as bishop, Louis merits a throne, all other known

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Tanja Michalsky 69

i m a g e s of h i m s h o w h i m s t a n d i n g upright.

2 8

T h e t h r o n e w h i c h L o u i s o c c u p i e s o n S i m o n e M a r t i n i ' s p a n e l c a n t h e r e f o r e b e u n d e r s t o o d a s t h e t h r o n e of t h e k i n g d o m s of Sicily a n d J e r u s a l e m , w h i c h s u b s e q u e n t l y p a s s e d to R o b e r t . L o u i s ' s p e c t o r a l , d e c o r a t e d in p a s t e w i t h t h e A n g e v i n f l e u r - d e - l i s a n d t h e c r o s s of J e r u s a l e m , is a m a g n i f i c e n t a n d c o n s p i c u o u s s y m b o l f o r t h i s t h r o n e . T h e s a m e h e r a l d i c c o l o u r s d e c o r a t e t h e s t o l e of R o b e r t ' s c o r o n a t i o n v e s t m e n t s . L o u i s a n d R o b e r t a r e b o t h p a r t of t h e beata stirps b u t t h e i r d i f f e r e n t roles in t h e d y n a s t i c r e p r e s e n t a t i o n a r e i n t e r w o v e n in t h i s p a i n t i n g to f o r m a p o w e r f u l rhetoric. D i s r e g a r d i n g t h e h i s t o r i c a l reality, L o u i s of T o u l o u s e a p p e a r s a s r e i g n i n g m o n a r c h - R o b e r t k n e e l s at h i s s i d e a n d s u b o r d i n a t e s h i m s e l f to t h e celestial o r d e r e m b o d i e d b y t h e Saint. B o t h d e s e r v e t h e i r c r o w n t h o u g h t h e y a r e of d i f f e r e n t k i n g d o m s . T h e r e p e a t e d m o t i f of t h e c r o w n d e f i n e s t h e m as r e p r e s e n t a t i v e s of a r o y a l l i n e a g e t h a t c l a i m s s p i r i t u a l d i s t i n c t i o n a n d t e m p o r a l p o w e r . T h e i m p o r t a n c e g i v e n t o t h e c o n c e p t of d y n a s t y b y t h e u s e of h e r a l d i c d e c o r a t i o n a n d t h e t o o l i n g of t h e g i l d e d b a c k g r o u n d d e m o n s t r a t e s h o w closely o s t e n t a t i o u s s p l e n d o u r a n d s y m b o l i c s t a t e m e n t w o r k t o g e t h e r . O n e c o u l d say, m e t a p h o r i c a l l y , t h a t t h e A n g e v i n d y n a s t y p r o v i d e d t h e f r a m e w o r k f o r b o t h s a l v a t i o n a n d c o r o n a t i o n .

In t h e c a s e of M a r i a ' s t o m b t h i s f r a m e w o r k is a l r e a d y p r o v i d e d b y t h e f u n c t i o n of t h e m o n u m e n t , w h i l e h e r l i n e a g e is a c e n t r a l a r g u m e n t for t h e e r e c t i o n of h e r t o m b . B o t h t h e c e n t r a l l y p l a c e d S a i n t L o u i s a n d h i s b r o t h e r R o b e r t c a m e f r o m t h e s a m e w o m b , b o t h b e l o n g e d t o t h e s a m e g e n e a l o g i c a l tree, w h i c h p r o d u c e d s e v e r a l s a i n t s a n d k i n g s in H u n g a r y a n d in F r a n c e . O n t h e o c c a s i o n of t h e f u n e r a l of P h i l i p of T a r a n t o , G i o v a n n i d a N a p o l i e x p r e s s e d t h i s v e r y clearly in a s e r m o n w i t h t h e i m a g e of t h e g o o d f r u i t s f r o m t h e g o o d tree."' T h e s e r m o n w a s p r e a c h e d in t h e c h u r c h of S a n D o m e n i c o M a g g i o r e in N a p l e s in D e c e m b e r 1332, p r o b a b l y in t h e p r e s e n c e of a l a r g e p a r t of t h e N e a p o l i t a n aristocracy."' T h e D o m i n i c a n p r e a c h e r e x p l a i n e d t h e p r i n c i p l e of t h e beata stirps w i t h r e f e r e n c e to t h e g o s p e l of M a t t h e w (7:17), ' t h e g o o d t r e e p r o d u c e s g o o d f r u i t s ' ( b o n a a r b o r b o n o s f r u c t u s facit). H e e x p o u n d e d : The French house can be called a good tree. It is good in relation to God, that is to say as friend and protector of the church, and it can be regarded as noble among all the houses of the world, since recently two saints of the name Louis were canonized, namely the king of France and the bishop of Toulouse." Therefore it can be said, that the fruits which come from such a tree, are good not only with reference to God, but also magnificent with reference to the world, that is to say the kings, dukes and counts as well as our lord, w h o descends from such a house, since his grandfather was the son of the king of France."

T w o a r g u m e n t s h a v e b e e n c l e v e r l y c o m b i n e d h e r e : t h e g e n e a l o g y , w h i c h h a s b e e n d r e s s e d in t h e i m a g e of t h e t r e e a n d w h i c h e n s u r e s t h a t t h e g o o d f a m i l y w i l l p r o d u c e f u r t h e r o f f s p r i n g ; a n d t h e u s e of t h e c o n j u n c t i o n ' t h e r e f o r e ' (ergo) w h i c h i m p l i e s c a u s a l i t y a n d s u g g e s t s t h a t t h e g o o d ' w i t h r e f e r e n c e to G o d ' logically b e l o n g to t h e m a g n i f i c e n t of t h e w o r l d . In s h o r t , t h i s a m o u n t s to s a y i n g t h a t h e w h o d e s c e n d s f r o m a g o o d f a m i l y is h i m s e l f g o o d , a n d h e w h o is g o o d is p r e d e s t i n e d to rule.

T h i s i d e a of a link b e t w e e n g o o d n e s s a n d t h e A n g e v i n d y n a s t y is

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expressed on Maria's tomb by the caryatids representing the virtues which should be interpreted as personifications of the character of the Queen on only one level.

33

The use of virtues on a royal tomb in the 1320s must have created a strong impact, as it was only later that they became the norm in the decoration of Neapolitan tombs. A consideration of the history of Italian tomb sculpture demonstrates that the inclusion of the virtues on Maria's tomb was not only innovatory but also an outstanding solution with historical roots. Before the Angevins began to claim virtues for their tombs they were used only on the tombs of saints. Erwin Panofsky suggested, therefore, that their use on the Angevin tombs was a sign of secularization and indicated the beginning of a modern desire for fame.

34

In view of the Angevin notion of themselves as a beata stirps it seems appropriate to interpret the use of virtues as an attempt to create a formal link with tombs of saints. Only later, w h e n they were used on the tombs of the Neapolitan aristocracy, did their meaning become secular. In Italy, tombs of saints dating from the late thirteenth and early fourteenth century did not conform to a clearly defined type. Jorg Garms has noted, however, that from a certain date onwards tombs of saints could and should be designated and distinguished from 'normal' tombs.

35

The use of figures of the virtues had an important role in creating this distinction.

The use of the virtues on the tombs of saints began with the Area di San Domenico (1264-67) in Bologna.

36

According to John Pope-Hennessy's reconstruction the sarcophagus was carried by the archangels Gabriel and Michael, two groups of clerics and the three theological virtues.

37

Following the model of the Area in Bologna, the Dominicans started to employ figures of virtues to carry sarcophagi. A prominent example is the tomb of Saint Peter Martyr (c. 1335) in Sant' Eustorgio in Milan. The acts of the Dominican General Chapter of 1335 state that the brothers of Sant' Eustorgio desired a monument that in form and material resembled that of Dominic: 'in forma et materiale simile per omnia sepulcro beati Dominici, patris nostris'.*

Outside Italy, this type of tomb was used as a model for Saint Margaret of

Hungary (1335-45)

m

Budapest.'

9

Paul Lovei's reconstruction shows that, like

the Area di San Domenico, Saint Margaret's tomb was decorated with scenes

from her vita and raised on columns decorated with reliefs of allegorical

figures, probably the virtues. Such supports belong to a type of freestanding

saint's tomb usually placed behind the altar.

4

" The intention was to ensure the

visibility of the tomb and to facilitate contact by pilgrims seeking salvation.

4

'

This type of arrangement can be found in the Tuscan tombs of San Cerbone

in the cathedral of Massa Marittima (1324)/* and of San Ottaviano in the

cathedral of Volterra (1320).

43

The only tomb with virtues that predates the

Angevin tombs and which was not m a d e for a canonized saint, is that erected

in Genoa by Giovanni Pisano in 1313 for Margaret of Brabant, wife of

Emperor Henry VII.

44

Significantly, this m o n u m e n t was created when the

canonization process for Margaret was initiated.

4

' It was particularly

important to illustrate Margaret's virtues and to emulate the tombs of other

saints in order to demonstrate that she was a worthy candidate for

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Tanja Michalsky 71

c a n o n i z a t i o n . T h e t o m b of M a r g a r e t of B r a b a n t d e m o n s t r a t e s t h a t a s a r c o p h a g u s r a i s e d b y v i r t u e s w a s still r e g a r d e d a s specifically a p p r o p r i a t e f o r s a i n t s ' t o m b s at t h i s t i m e .

E v e n a f t e r t h e p r e c e d e n t set b y M a r g a r e t ' s t o m b in 1313, v i r t u e s w e r e n o t a u t o m a t i c a l l y c h o s e n f o r t o m b s o t h e r t h a n t h o s e of s a i n t s . T h i s is

d e m o n s t r a t e d b y T i n o d i C a m a i n o ' s t o m b of C a r d i n a l P e t r o n i (1317) in Siena C a t h e d r a l (fig. 22). It is p r o b a b l e t h a t T i n o d i C a m a i n o a d o p t e d t h e u s e of c a r y a t i d s to s u p p o r t t h e s a r c o p h a g u s o n t h i s w a l l t o m b f r o m h i s m a s t e r G i o v a n n i Pisano.

4

* Since t h e u s e of v i r t u e s f o r t h e t o m b of a n ' o r d i n a r y ' cleric w a s a p p a r e n t l y n o t a p p r o p r i a t e , t h e f i g u r e s w e r e n o t g i v e n a n y a t t r i b u t e s a n d t h e i r f u n c t i o n is solely to r a i s e t h e t o m b . It is t h e r e f o r e all t h e m o r e s i g n i f i c a n t t h a t T i n o d i C a m a i n o t r a n s f o r m e d t h e c a r y a t i d s i n t o v i r t u e s w h e n h e d e s i g n e d h i s first t o m b f o r t h e A n g e v i n c o u r t . T h i s w a s t h e t o m b c r e a t e d in 1324 f o r C a t h e r i n e of A u s t r i a in S a n L o r e n z o (fig. 23). T h e t o m b h a s a c o m p l i c a t e d h i s t o r y a n d t h e r e is e v i d e n c e of s e v e r a l c h a n g e s in t h e d e s i g n , b u t it is n e v e r t h e l e s s clearly d e s i g n e d b y t h e h e a d of t h e w o r k s h o p , T i n o d i C a m a i n o . T h e artist h a d to a d a p t t h e c a r y a t i d s of t h e v i r t u e s to t h e u n u s u a l , f r e e s t a n d i n g s e t t i n g of t h e t o m b in t h e a m b u l a t o r y of t h e c h o i r t h u s

e s t a b l i s h i n g a n a s s o c i a t i o n b e t w e e n t h e t o m b a n d t h e m a i n altar.

47

In N a p l e s , t h e v i r t u e s d o n o t o n l y c h a r a c t e r i z e a n d e u l o g i z e t h e d e a d , a s w a s t h e c a s e in t h e t o m b of C a r d i n a l P e t r o n i . O n t h e t o m b of C a t h e r i n e of A u s t r i a , in m y v i e w , t h e v i r t u e s a r e e m p l o y e d to r a i s e t h e p r i n c e s s u p i n t o t h e r e a l m of t h e s a i n t s . T h e t o m b d i f f e r s f r o m M a r g a r e t of B r a b a n t ' s t o m b in G e n o a in t h a t h e r e it is t h e d y n a s t y itself, t h e bona arbor w h i c h d e s e r v e d t h i s d i s t i n c t i o n .

It is i m p o r t a n t to h i g h l i g h t t h e p o w e r of t y p o l o g y , w h i c h is a s m e a n i n g f u l a n d s i g n i f i c a n t a s i c o n o g r a p h y . T h e c a n o n of c a r d i n a l a n d t h e o l o g i c a l v i r t u e s p r o v i d e d a l i m i t e d c h o i c e f o r u s e o n t o m b s c u l p t u r e . B e c a u s e t h e v i r t u e s a r e a t o p o s t h e y c a n n o t r e v e a l m u c h a b o u t t h e deceased.

4

* N o n e t h e l e s s , t h e i r i n t r o d u c t i o n a s c a r y a t i d s o n t h e t o m b s of i m p o r t a n t a r i s t o c r a t i c w o m e n w a s p i o n e e r i n g in t h a t it s y m b o l i z e d h o l i n e s s . V i r t u e s - e i t h e r as a b s t r a c t , v e r b a l c o n c e p t s o r in t h e i r f o r m as p e r s o n i f i c a t i o n s - o c c u p i e d a c l e a r l y d e f i n e d p l a c e in t h e e s t a b l i s h m e n t of a m o r a l c a n o n , a s is e v i d e n t f r o m Fiirstenspiegel, o r c o n d u c t l i t e r a t u r e for p r i n c e s , a n d political treatises.

4

' T h e v i r t u e s s e r v e d less to d e s c r i b e t h e i n d i v i d u a l ' s p e r s o n a l i t y t h a n to d e f i n e t h e i r role a c c o r d i n g to t h e i r social a n d political s t a t u s . It is r e m a r k a b l e , t h e r e f o r e , t h a t t h e t o m b s of b o t h M a r g a r e t of B r a b a n t a n d M a r i a of H u n g a r y w e r e a c c o r d e d t h e c a r d i n a l v i r t u e s t h a t b e l o n g to t h e c a n o n of m a l e r u l e r s , w h e r e a s t h e v i r t u e s t h a t d e c o r a t e t h e t o m b s of o t h e r N e a p o l i t a n w o m e n s t r e s s t h e i r F r a n c i s c a n - i n f l u e n c e d c a r i t a t i v e r o l e . " T h i s c a n b e u n d e r s t o o d a s a r e s u l t of t h e d e v e l o p m e n t t h r o u g h w h i c h t h e w o m e n of a r i s t o c r a t i c f a m i l i e s t o o k o n t h e r e s p o n s i b i l i t y of p r o m o t i n g t h e s a n c t i t y of t h e i r d y n a s t y . T h e m o s t i n f l u e n t i a l m o d e l f o r ' s p e c t a c u l a r s e l f - h u m i l i a t i o n ' w a s Saint E l i z a b e t h of T h u r i n g i a - H u n g a r y / ' w h o a p p e a r s in s e v e r a l N e a p o l i t a n p r o g r a m m e s .

5 2

T h e t o m b p r o v i d e s a clear political s t a t e m e n t t h a t R o b e r t of A n j o u , t h e d e s c e n d a n t of a s a c r e d d y n a s t y , r u l e s t h e k i n g d o m of N a p l e s legitimately.

T h e c a r y a t i d s of v i r t u e s i l l u s t r a t e this i n t e n t i o n a n d c a n b e u n d e r s t o o d a s t h e

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23 Tino di Camaino, Tomb of Catherine of Austria, Naples, San Lorenzo, 1324

t v

1 I

i

7k'

41

fev

0

symbol of the chosen dynasty. Furthermore the reliefs on the sarcophagus showing Robert next to his canonized brother, Louis of Toulouse, present the genealogical argument for the legitimacy of Robert's reign. That Maria's funerary monument forms the frame of the statement is part of the argument.

Maria forms part of the bloodline linking saints and kings: ancestors such as

Saints Stephen and Ladislas, both kings of Hungary, and offspring such as

Saint Louis of Toulouse and King Robert of Anjou. It would be wrong to see

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Tanja Michalsky 73

t h e political s t a t e m e n t o n t h e t o m b of M a r i a of H u n g a r y as d e n i g r a t i n g h e r in a n y w a y . O n t h e c o n t r a r y , t h e e l e v a t i o n of Q u e e n m o t h e r a n d k i n g a r e m u t u a l l y d e p e n d e n t w i t h i n a d y n a s t y of r u l e r s . It is exactly t h i s w h i c h m a k e s t h e s y s t e m of memoria s o effective.

M a r i a ' s m a g n i f i c e n t a n d l a v i s h t o m b to a l a r g e e x t e n t d e r i v e s its effect, i n c l u d i n g its r e l i g i o u s a n d political m e s s a g e , f r o m t h e artistic q u a l i t y of its e x e c u t i o n , c a r r i e d o u t b y T i n o d i C a m a i n o a n d G a l g l i a r d o P r i m a r i o . T h e f e w d o c u m e n t s t h a t h a v e s u r v i v e d c o n c e r n i n g t h e c o n s t r u c t i o n of t h e t o m b d o n o t a l l o w a n y c o n c l u s i o n s to b e d r a w n a s to w h e t h e r , or h o w , t h e p a t r o n w a s a c t i v e l y i n v o l v e d in t h e r e a l i z a t i o n of t h e p r o g r a m m e . " N e v e r t h e l e s s , t h e m o n u m e n t itself p r o v i d e s e v i d e n c e of t h e a m b i t i o u s n a t u r e of t h e c o m m i s s i o n . Its d e s i g n , m o d e l l e d o n R o m a n a n d T u s c a n w a l l - t o m b s , w a s r e a l i z e d w i t h e n o r m o u s e n e r g y a n d elegance.

5 4

D e s c r i p t i o n s t e s t i f y to t h e i m p a c t m a d e b y t h e p r e c i o u s m a t e r i a l s , e s p e c i a l l y t h e w h i t e m a r b l e , o n v i s i t o r s of t h e e a r l y m o d e r n era. P i e t r o D e S t e f a n o , o n w h o m t h e i n n o v a t i v e i c o n o g r a p h y m a d e n o i m p r e s s i o n , r e m a r k e d i n 1560 t h a t ' t h e r e is a s e p u l c h r e of t h e f i n e s t m a r b l e [so] t r a n s p a r e n t t h a t it a p p e a r s [to be] a l a b a s t e r , w h e r e t h e m o r t a l [ r e m a i n s ] of t h e s a i d Q u e e n M a r i a a r e [placed]'.

5 5

C e s a r e d ' E n g e n i o , in 1623, s p o k e of 'a t o m b of p u r e w h i t e marble'.

5 6

W h i t e m a r b l e h a d a l r e a d y b e e n u s e d f o r earlier w a l l - t o m b s in c e n t r a l Italy. H o w e v e r , o n M a r i a ' s t o m b t h e f i n e m a r b l e i n c r u s t a t i o n s a n d i n l a i d g l a s s w o r k a r e o r c h e s t r a t e d in s u c h a w a y t h a t t h e e n t i r e m o n u m e n t g l e a m s like a p r e c i o u s s h r i n e . T i n o d i C a m a i n o h a d e x p e r i m e n t e d w i t h a c o m b i n a t i o n of m a r b l e a n d i n l a i d w o r k f o r t h e first t i m e in t h e t o m b of C a t h e r i n e of A u s t r i a , p r o b a b l y in c o n j u n c t i o n w i t h a r t i s t s f r o m C a m p a n i a . For t h e t o m b of M a r i a of H u n g a r y , h i s s e c o n d N e a p o l i t a n w o r k , h e r e d u c e d t h e c o l o u r s c h e m e a n d t h e a m o u n t of i n c r u s t e d a n d i n l a i d p i e c e s a n d t h u s a c h i e v e d a g r e a t e r o v e r a l l h a r m o n y . F u r t h e r m o r e , h e e m p l o y e d t h e s u b t l e s h a d e s i n h e r e n t in t h e m a r b l e itself to c r e a t e n u a n c e s . F o r e x a m p l e , a l t e r n a t e s h a d e s of m a r b l e a r e u s e d f o r t h e s e a t e d f i g u r e s o n t h e f r o n t of t h e s a r c o p h a g u s w i t h Saint L o u i s of T o u l o u s e g i v e n t h e b r i g h t e s t v a r i a n t a n d t h e r e is a l s o a g r a d a t i o n of s h a d e s of m a r b l e b e t w e e n t h e g a b l e a n d t h e p i e r s of t h e b a l d a c h i n .

A v i e w of t h e e n t i r e m o n u m e n t s h o w s t h a t t h e p r o p o r t i o n s w e r e t h o u g h t o u t c a r e f u l l y ( p l a t e ix). T h e w i d t h c o r r e s p o n d s to half of t h e h e i g h t . T h i s is e m p h a s i z e d b y t h e c a p i t a l level, w h i c h m a r k s t h e m i d p o i n t of t h e m o n u m e n t . T h e g a b l e is c a r r i e d o n s l e n d e r b u n d l e s of p i e r s w i t h e x t r a v a g a n t c o r n e r p o s t s , set d i a g o n a l l y a n d c r o w n e d b y finials. T h e a r c h of t h e g a b l e is

e n l i v e n e d w i t h e l e g a n t , o p e n tracery. T h e p i e r s w i t h t h e i r t h r e e r e g i s t e r s l e n d a r h y t h m i c m o v e m e n t to t h e o u t e r e l e v a t i o n , w h i c h c o r r e s p o n d s to t h e c e n t r a l e l e m e n t s of t h e t o m b : t h e c a r y a t i d s r e p r e s e n t i n g t h e v i r t u e s , t h e s a r c o p h a g u s w i t h t h e gisant of M a r i a of H u n g a r y , a n d t h e camera funebris.

A c o m p a r i s o n of M a r i a ' s t o m b w i t h t h e t o m b of C a r d i n a l P e t r o n i

d e m o n s t r a t e s t h e d e v e l o p m e n t of s u b t l e e x p r e s s i v e d e t a i l s i n t h e w o r k of

T i n o d i C a m a i n o . C a r d i n a l P e t r o n i ' s t o m b h a s s q u a t t e r p r o p o r t i o n s a n d a

p y r a m i d a l s t r u c t u r e . It is d o m i n a t e d b y t h e d e e p , n a r r a t i v e reliefs a n d t h e

t h r e e - q u a r t e r r o u n d f i g u r e s c u l p t u r e s o n t h e s a r c o p h a g u s . A u n i q u e f e a t u r e

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of the camera funebris is the pedestal, decorated with Petroni's coat of arms, on which the gisant is placed. The angels w h o open the curtains stand in front of the pedestal. On Maria's tomb, the architectural elements are elongated and the individual forms are more strongly related to one another. The angels w h o hold open the curtains of the camera funebris have wings similar to those of the caryatids of the virtues. Unlike the angels on Cardinal Petroni's tomb, those on Maria's tomb do not project above the roof of the camera funebris.

Only the angel to the left looks out at the viewer. The angel on the right gazes at the effigy of the deceased Queen and marks an inner conversation. The finesse of the workmanship on the tomb can be measured through small details such as the cascading drapery of the curtains, which are barely attached to the roof and thus belie the weight of the marble, and the pall which falls into pleats arranged at right angles to the Queen's effigy. To my knowledge, this is a unique solution to the problem posed by the

representation of a recumbent figure.

Maria of Hungary's monumental wall tomb in Santa Maria Donna Regina was used as a display of royal representation - in the sense of image and as a political representation of legitimate power. Its so-called 'courtly' quality can be measured in the refined sculptural details and the solemn variation of its various elements. It is important to note that the tomb dominated the small church rebuilt by Maria. This is comparable to the early fourteenth- century arrangements in the Scrovegni chapel in Padua where Enrico Scrovegni's tomb faces the Last Judgement scene.

57

In Santa Maria Donna Regina, it is possible to make a tentative proposal that a connection can be m a d e between the 'Last Judgement' on the entrance wall and the tomb monument, a dialogue initiated by the papal spear-bearer standing on the apex of the gable. In Maria of Hungary's tomb the Angevin claim to power has been condensed into a pithy artistic formulation, which remained unique amongst the subsequent dynastic monuments. The innovations developed by Tino di Camaino, in conjunction with Gagliardo Primario and other Neapolitan artists, were repeated on later tombs but eventually lost their vigour and became exaggerated because of their monumentalization.

5 8

The fact that such important innovations were devised for the tomb of a w o m a n can be ascribed to Maria's role in the preservation of the dynasty through the birth of her many children as well as to her participation in the promotion of Angevin piety.

Translated by Alexandra Gajewski

Notes

I. This chapter is based on my dissertation on the tombs of the Angevins in Naples. For the tomb of Maria of Hungary see Michalsky (2O0ia): H3ff., 117-121 and cat. no. 22, 289-97. m t n e m o s t recent literature the tomb has been mentioned only in its wider context. See, for example, Bock (2001):

239-42; and Moskowitz (2001): 184-6, who compares the tomb with that of Pope Benedict XI in Perugia. See also Panofsky (1964); Gardner (i988a).

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Tanja Michalsky 75

2. The w o r d i n g of the record of the execution of the will is as follows: 'Magistris D y n o et Galardo d e s u m m a unciarum c e n t u m quinquaginta quatuor conventarum eis pro facienda una sepultura in dicta ecclesia sancte Marie D o m p n e Regine, in qua debet corpus dicte d o m i n e tumulari uncias 114'.

Reg. ang. 1326B fo. 161-6 q u o t e d from Minieri Riccio (1857): 205; Schulz (i860), doc. C C C L X V I I ,

137-45. Schulz quotes uncias quadraginta from fo. 160 of the s a m e register. It is generally accepted that Tino di C a m a i n o w a s in charge of the artistic design. Bertaux (1899): 126; Chierici (1934): 103;

Valentiner (1935): looff.; Morisani (1955): 42ft.; T h o e n e s (1971): 195; Kreytenberg (1987): 28. For a different o p i n i o n see Enderlein (1997): 91. For the d o c u m e n t in w h i c h the marble is ordered, see Michalsky (20O0a): 291ft.

3. For the t o m b s created after that of Charles I, s e e Michalsky (2O0Oa): 92-154. For the creation of a m a u s o l e u m in the cathedral, Michalsky (20O0a): 101-9.

4. Gardner (i988a); Aceto (1995'1); Enderlein (1997): 7 6 - 8 9 , 1 8 9 - 9 1 ; Michalsky (20ooa): cat. no. 2 1 , 2 8 1 - 9 ; Michalsky (200ia): 124-30.

5. 'Pro exequiis annualibus celebratis in ecclesia S. Marie D o m p n e Regine pro anima d o m i n e regine reverende d o m i n e matris nostre unc.6 tar.15'; Reg. ang. 1328 D. fo. 346, q u o t e d from Minieri Riccio (1876): 5.

6 . 'QUE OB11T A N N O DOMINI MCCCXXIII INDICTIONE VI DIE XXV MENSIS MARTII CUIUS ANIMA REQU1ESCAT IN PACE AMEN'.

7. In contrast, the effigies of male family m e m b e r s reveal individual characteristics intended to c o n v e y responsible rulership. This contrast can be explained by the different roles p l a y e d by the sexes in A n g e v i n propaganda: on the o n e side p o w e r f u l rulership, o n the other charitable and p i o u s activities.

8. 'HIC REQUIESCIT SANCTE MEMORIE EXCELLENTISSIMA DOMINA DOM1NA MARIA DEI GRATIA IERUSALEM S1C1LIE HUNGARIEQUE REG1NA MAGNIFICl/PRlNCIPIS QUONDAM STEFANI DEI GRATIA REGIS HUNGARIE FILIA AC REL1CTA CLARE MEMORIE INCLITI PRINCIPIS DOMINI KAROLI SECUNDl/ET MATER SERENISSIMI PRINCIP1S ET DOMINI DOMINI KAROLI SECUNDl/ET MATER SERENISSPMI PRINCIPIS ET DOMINI DOMINI ROBERT! EADEM GRATIA DEI DICTORUM REGNORUM IERUSALEM SICILE REGUM ILLUSTRIUM'.

9. C o m p a r e the tombs illustrated in Gardner (1992"): Luca Savelli, R o m e Santa Maria in Aracoeli, fig.

41; Matteo d'Aquasparta, R o m e Santa Maria in Aracoeli, fig. 57; G u i l l a u m e Durand, R o m e Santa Maria sopra Minerva, fig. 61; G o n z a l e s Gudiel, R o m e Santa Maria Maggiore, fig. 62.

10. Valentiner (1935): 47-56; Seidel (i975b): 49ff.; and Kreytenberg (1987): 22-3; Gardner (1992s): 113ft., figs 116-19; M o s k o w i t z (2001): 109-12.

11. For the identification of the figures, see Valentiner (1935): 103; Morisani (1972): 165. Different identifications are g i v e n b y Enderlein (1997): 94-5. For the vita and the cult of Saint Louis of Toulouse see Toynbee (1929); Laurent (1954); Pasztor (i955a).

12. For the Christian liturgy of the d e a d see De C h a p e a u r o u g e (1973). Interdisciplinary studies are collected in Schmid and Wollasch (1984).

13. 'Exultare ac pium prorumpere debes in iubilum de utero tuo processisse virum angelicum, meditans consortem esse gloriae angelorum. Profusis decet te plaudere gaudiis, quod talem in terris genueris filium, cuius in caelis patrocinio cuiusve favore a p u d h o m i n e s communiris ut intercessionibus apud Deum', AASS, Aug. 3, 799. Bruckner (1992): 80, referred to the personal link b e t w e e n a saint and an individual or social group, c o m m o n in the Middle Ages, as 'Verrechtlichung einer konkreten Devotio'.

14. Bauch (1971). For a discussion of the iconography of intercession, w h i c h w a s connected w i t h the early tombs of clerics, see Herklotz (1985): 143-210; Gardner (i992a): 54-89.

15. In a further level of meaning, memoria is treated as a total social p h e n o m e n o n w i t h reference not only to individuals but also to the entire s y s t e m of a feudal, noble society, within w h i c h the c o m m u n i t y of the living and the dead is continuously constructed a n e w in acts of c o m m e m o r a t i o n . For the term memorial as it is used here, see the essential contributions of Oexle (1976, 1983, 1995). See also Michalsky (20OOa): 17-22.

16. Enderlein (1997): 94ff., seeks to identify the figures on the basis of similarities w i t h representations on other tombs or in manuscripts. H o w e v e r , these 'similarities' are hard to verify.

17. I w o u l d like to stress that Maria's m o t h e r h o o d is an integral part of the tomb's programme.

Enderlein (1997): 96ft. and Bock (2001): 240 and n. 66, d o not accept this argument. H o w e v e r , the representation of the enthroned m e n can be understood only by m e a n s of their relationship to Maria as their mother.

18. Recent scholarship highlights the political function of the various forms of 'the m e d i e v a l public body'. See T h u m (1980, 1984, 1990). For a discussion of 'public' v e r s u s 'private', see M o o s (1998). In a limited s e n s e the interior of a church can be understood as a public space. See Wenzel (1995): 23ft.

19. L e w i s (1981): 12.5ft.

20. Lewis (1981). For a s u m m a r y of the research, see Petersohn (1994). Comparable attempts to promote the concept of sacred kingship by the Anjou in Italy and Hungary are discussed by Vauchez (1977) and Klaniczay (1990, 1994).

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21. T h i s is clearly d e m o n s t r a t e d b y t h e e f f o r t s to s u p p o r t specific cults of saints, see K l a n i c z a y (1990):

111-15. m Vitale (1999), see t h e b i b l i o g r a p h y in n o t e 11 for t h e cult of L o u i s of T o u l o u s e . T h e A n g e v i n s a n d A r p a d s s u p p o r t e d t h e c u l t s of M a r g a r e t of H u n g a r y , E l i z a b e t h of

T h u r i n g i a - H u n g a r y , K i n g S t e p h e n of H u n g a r y a n d t h e P r e m s l i d A g n e s . A f t e r the relics of M a r y M a g d a l e n w e r e d i s c o v e r e d s p e c t a c u l a r l y in P r o v e n c e , t h e M a g d a l e n w a s also c o n s i d e r e d o n e of t h e A n g e v i n ' saints, s e e Saxer (1959): 28-40. For t h e feast of M a r y M a g d a l e n in N a p l e s , see M i n i e r i Riccio (1863): 45-6. T h e r e is f u r t h e r e v i d e n c e of t h e i d e a of sacral k i n g s h i p b o r r o w e d f r o m t h e C a p e t i a n s in t h e c o r o n a t i o n ordines of t h e A n g e v i n s w h i c h i n c l u d e d the a n o i n t i n g of t h e royal c o u p l e , a n u n u s u a l f e a t u r e of t h e F r e n c h c o r o n a t i o n ritual. T h e c o n n e c t i o n w i t h t h e F r e n c h royal h o u s e is clear in the d e s c r i p t i o n of t h e A n g e v i n k i n g s a n d p r i n c e s a s 'fils du roi de France'. In d o c u m e n t s a n d p u b l i c this b e c a m e a n a l m o s t s t e r e o t y p i c a l f o r m u l a , see Boyer (1994): passim.

22. 'Filius est n e p o s d u o r u m p r o x i m o r u m r e g u m Siciliae et u l t e r i o r e s p a r e n t e s s u i r e g e s f u e r u n t d e regali s t i r p e r e g u m Francie d e s c e n d e n t e s ' , V i e n n a , O s t e r e i c h i s c h e S t a a t s b i b l i o t h e k , m s . 2132, fo.

65r-6r.

23. T h e s u c c e s s i o n to the t h r o n e w a s d i s p u t e d . C h a r l e s R o b e r t of H u n g a r y , son of C h a r l e s M a r t e l , a n d t h u s a direct d e s c e n d e n t of C h a r l e s II, tried to c o n t e s t the t h r o n e , see H o m a n (1938): 143.

24. T h e p a i n t i n g is in t h e Galleria N a z i o n a l e di C a p o d i m o n t e in N a p l e s . It m e a s u r e s 250 X 138cm, the p r e d e l l a is 56cm h i g h . See the r e p o r t of the r e s t o r a t i o n in C a u s a (1950): 32-8. See also Bologna (1969):

147-77; Bertelli (1972); G a r d n e r (1976, i 9 8 8b) ; M a r t i n d a l e (1988): 192-4; M o n n a s (1993); H o c h (1995);

Kriiger (2001). For a late d a t i n g , see E n d e r l e i n (1995).

25. M i c h a l s k y (20OOa): 105-8, 253-64; Kriiger (2001). For the v i e w t h a t the L o u i s of T o u l o u s e p a n e l m a y h a v e b e e n p l a c e d in S a n t a C h i a r a , see S a m a n t h a Kelly, C h a p t e r 1, a n d M a t t h e w Clear, C h a p t e r 2 in this v o l u m e .

26. Kriiger (1992): 72ff., 9 8 , 1 7 3 - 8 5 . 27. B r a n d l (1985): ia£f.

28. C o m p a r e the p a n e l in t h e M u s e e G r a n e t in A i x - e n - P r o v e n c e (fig. 13), w h i c h s h o w s L o u i s s t a n d i n g . R o b e r t a n d Sancia are k n e e l i n g at his feet a n d h e r e , too, h e is c r o w n e d b y a n g e l s .

29. K a p p e l i (1940): 49, n o t e s t h a t C h a r l e s II called the D o m i n i c a n G i o v a n n i R e g i n a , also k n o w n a s G i o v a n n i d a N a p o l i , f r o m Bologna to t h e N e a p o l i t a n c o u r t w h e r e h e p r e a c h e d s e v e r a l times.

30. M i c h a l s k y (2O0oa): 310-14.

31. Louis IX w a s c a n o n i z e d in 1297 b y Boniface VIII, a n d Louis of T o u l o u s e in 1317 b y J o h n XXII.

32. ' D e a l i q u o p r i n c i p e m o r t u o . Princeps Dei (Gen 23,6). O m n e s a d p r a e s e n s s u m u s c o n g r e g a t i a d e x e q u i a s p r i n c i p i s tarentini q u i in vita s u a f u i t p r i n c e p s et a m i c u s dei elegis p o s t m o r t e m c o r p u s s u u m sepeliri intra electa s e p u l c r a g e n e r i s s u i s q u i s u n t a p u d n o s ... q u a n t u m a d p r i m u m est s c i e n d u m q u o d sicut d i c i t u r M t 7 bona arbor bonos fructus factum. A r b o r b o n a p o t e s t dici d o m u s Franciae q u a e est b o n a et q u o a d d e u m , u t p o t e a m a t r i x et d e f e n s a t r i x ecclesiae, d e q u a d e n o v o d u o sancti L u d o v i c i c a n o n i z a t i f u e r u n t - scilicet rex Franciae et e p i s c o p u s T h o l o s a n i et q u o a d m u n d u m u t p o t e inter d o m o s o m n e s m u n d i excellenter nobilis. E r g o d e c e t q u o d f r u c t u s q u i n a s c u n t u r d e tali arbore, s u n t n o n s o l u m b o n i q u o a d d e u m sed e t i a m m a g n i q u o a d m u n d u m scilicet reges, d u c e s , p r i n c i p e s et h u i u s m o d i . D o m i n u s a u t e m N. h a b u i t o r t u m ex tali d o m o quia e i u s a v u s fuit filius regis Franciae, e r g o d e c e t q u o d esset p r i n c e p s ' , N a p l e s , Biblioteca N a z i o n a l e , m s AA VIII 11, fo. i8v. A n o t h e r s e r m o n w i t h similar p a s s a g e s is c o n t a i n e d in the s a m e m a n u s c r i p t : ' P r o e o d e m Princeps et maximus cecidit hodie (2. Rg 3, 38)', ibid., fos I9r-I9v. D ' A v r a y (1994): 104-5, 1 2 2 _5 < d i s c u s s e s G i o v a n n i d a N a p o l i ' s s e r m o n s as p a r t of his analysis of the m e m o r i a l s e r m o n s c o m p o s e d for the A n g e v i n court.

33. For e x a m p l e , D e R i n a l d i s (1927-28): 206-7, s a w t h e m a s t h e t h r e e d i m e n s i o n a l e x p r e s s i o n of t h e p r i d e of t h e king.

34. P a n o f s k y (1964): 82.

35. G a r m s (1990): 95, ' a b e i n e m g e w i s s e n Z e i t p u n k t als H e i l i g e n g r a b e r b e z e i c h n e t o d e r ... a b g e g r e n z t w e r d e n ' .

36. Before the v i r t u e s w e r e u s e d o n t h e t o m b s of s a i n t s in Italy, t h e y w e r e i n c l u d e d o n r e l i q u a r i e s a n d s h r i n e s of s a i n t s n o r t h of the Alps, s u c h as t h e t w e l f t h - c e n t u r y H e r i b e r t s h r i n e in D e u t z , a n d t h e s h r i n e s of A l b i n u s a n d the T h r e e M a g i in C o l o g n e . For t h e Area di S a n D o m e n i c o see G n u d i (1948);

P o p e - H e n n e s s y (1951); Bottari (1964); Seidel (1975"): 347ff.; Seidel (1988), M o s k o w i t z (1994);

R o m a n o (1999), M o s k o w i t z (2001): 204-7. F °r m e historical i n t e r p r e t a t i o n of certain v i r t u e s in c o n n e c t i o n w i t h the i c o n o g r a p h y of the m e n d i c a n t o r d e r s see K r i i g e r (1998): passim.

37. T h e s c u l p t u r e s of t h e a r c h a n g e l s are in t h e Victoria a n d A l b e r t M u s e u m ( L o n d o n ) . A f i g u r e i d e n t i f i e d b y P o p e - H e n n e s s y a s fides is n o w in t h e M u s e e d u L o u v r e (Paris). T h e clerics are in t h e M u s e o del Bargello (Florence) a n d in t h e M u s e u m of Fine A r t s (Boston). See P o p e - H e n n e s s y (1951).

M o s k o w i t z (1987) h a s c o n f i r m e d this r e c o n s t r u c t i o n . Seidel (1988): 9, n.19, q u e s t i o n e d t h e i d e n t i f i c a t i o n of fides b u t d i d n o t s u g g e s t a n a l t e r n a t i v e i n t e r p r e t a t i o n .

38. ' F r a t r e s c o n v e n t u s M e d i o l a n e n s i s , in q u o c o r p u s b e a t i Petri m a r t y r i s r e q u i e s c a t ad h o n o r e m e i u s d e m gloriosi m a r t y r i s s e p u l c r u m e i u s d e m h e d i f i c a r e i n c e p e r i n t in f o r m a et m a t e r i a l e simile p e r o m n i a s e p u l c r o b e a t i D o m i n i c i p a t r i s n o s t r i s ' . See M O P H 4, Acta capitulorum generalium 2, R o m e

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Tanja Michalsky 77

(1899): 223-4, q u o t e d a f t e r Lovei (1980): 221, n. 162. T h e similarities t h a t are m e n t i o n e d h e r e c o n c e r n t h e u s e of scenes f r o m t h e vita a n d of t h e v i r t u e s . For t h e d a t e a n d i c o n o g r a p h y of t h e t o m b s see Russoli (1963).

39. T h e t o m b is d i s c u s s e d b y Lovei (1980): 21 iff.

40. Pisan s c u l p t o r s c r e a t e d a n o t h e r t o m b raised o n c o l u m n s , for Saint Eulalia, in t h e c a t h e d r a l of Barcelona b e f o r e 1339 w h e n h e r relics w e r e t r a n s l a t e d . Salmi (1933).

41. See t h e r e p r e s e n t a t i o n of p i l g r i m s at t h e t o m b of Saint Nicolas, r e p r e s e n t e d as a s t a n d a r d t y p e of e l e v a t e d s a r c o p h a g u s , in t h e p r e d e l l a of the Q u a r a t e s i p o l y p t y c h p a i n t e d b y G e n t i l e d a F a b r i a n o in 1425, n o w in the Kress Collection, W a s h i n g t o n D C .

42. Carli (1946): i3ff.; K r e y t e n b e r g (1992).

43. K r e y t e n b e r g (1990): 69-78.

44. T h e t o m b w a s originally in S a n F r a n c e s c o di C a s t e l l a n o in G e n o a . T h e first e x t e n s i v e s t u d y a f t e r t h a t of E i n e m (1961) is t h a t of Seidel (1987) w h e r e s o u r c e s a n d p r e v i o u s l i t e r a t u r e c a n b e f o u n d . See a l s o Seidel (1990); T r i p p s (1997); Di Fabio (1999).

45. I b e l i e v e t h a t the d e s i r e to d e m o n s t r a t e M a r g a r e t of B r a b a n t ' s s a n c t i t y w a s p r o b a b l y t h e r e a s o n b e h i n d the d r a m a t i c r e p r e s e n t a t i o n o n h e r t o m b , d e s c r i b e d b y G a r d n e r (i992a): 173, as ' t h e h a u n t i n g f i g u r e of the e m p r e s s h a u l e d h e a v e n w a r d s ' . M a r g a r e t of B r a b a n t w a s t h e w i f e of E m p e r o r H e n r y VII, a n d it a p p e a r s t h a t s h e f o l l o w e d t h e ideal life of a p i o u s c o n s o r t for w h i c h E l i z a b e t h of T h u r i n g i a - H u n g a r y h a d p r o v i d e d t h e m o d e l .

46. W i t h n o t e s o n t h e style, Seidel (i975b): 4gff.

47. For S a n L o r e n z o M a g g i o r e , see Kriiger (1985). For t h e t o m b , see M i c h a l s k y (1998): 2 8 1 - 9a nd <2O0ia):

124-30. See a l s o t h e c o n t r i b u t i o n s in t h e p r o c e e d i n g s of t h e recent c o n f e r e n c e o n S a n L o r e n z o , especially t h a t b y A c e t o w h o p o i n t e d o u t t h a t t h e b u i l d i n g h i s t o r y of the c h u r c h m i g h t p r o v i d e t h e e x p l a n a t i o n for c h a n g e s to t h e t o m b s t r u c t u r e d u r i n g its c o n s t r u c t i o n . R o m a n o a n d Bock ( f o r t h c o m i n g ) .

48. For t h e v i r t u e s o n the t o m b of Robert of A n j o u , see M i c h a l s k y (2000b): 56ft. For a d i s c u s s i o n of t h e p r o b l e m of t h e i c o n o g r a p h i c d i f f e r e n t i a t i o n of the c a r y a t i d s of t h e v i r t u e s , see Bock (2002a).

49. For t h e Fiirstenspiegel a n d t h e m o r a l c a n o n , see Berges (1938). For a g e n e r a l d i s c u s s i o n of t h e v i r t u e s , see K a t z e n e l l e n b o g e n (1989). For m o r e n a r r o w l y f o c u s e d i n v e s t i g a t i o n s into the v i r t u e s a n d vices, see T u v e (1963-64) a n d S k i n n e r (1986).

50. Caritas a n d Spes a r e r e p r e s e n t e d o n t h e t o m b of C a t h e r i n e of A u s t r i a (1324) in S a n L o r e n z o M a g g i o r e . Caritas, Spes a n d a third f i g u r e w i t h a n e r m i n e a r e r e p r e s e n t e d o n the t o m b of M a r i a of Valois (1331-37) in Santa C h i a r a . G a g l i o n e (1997) tentatively i d e n t i f i e d this f i g u r e as Castitas. T h e p e r s o n i f i c a t i o n s o n t h e t o m b of Q u e e n Sancia, f o r m e r l y in S a n t a Croce, a r e difficult to identify.

M i c h a l s k y (20ooa): fig. 65. A p o o r C l a r e (?) a n d a w o m a n w i t h u n c o v e r e d b r e a s t a n d r o s a r y (?) c o u l d b e i n t e r p r e t e d a s d i f f e r e n t a s p e c t s of c h a r i t y o r a s p e r s o n i f i c a t i o n s of poverty.

51. O e x l e (1981): 86; Klaniczay (1994): 358. A c o n s i d e r a t i o n of t h e role of f e m a l e r u l e r s t o g e t h e r w i t h e x a m p l e s f r o m t h e p e r i o d 5 0 0- n o o c a n b e f o u n d in S c h u l e n b e r g (1988). See a l s o S a m a n t h a Kelly, C h a p t e r 1, a n d M a t t h e w Clear, C h a p t e r 2 in this v o l u m e .

52. Saint Elizabeth w a s related to the A n g e v i n h o u s e a n d w a s t h e r e f o r e a n o b v i o u s choice for r e p r e s e n t a t i o n . H e r r e p r e s e n t a t i o n o n C a t h e r i n e of A u s t r i a ' s s a r c o p h a g u s is o n e e x a m p l e . See M i c h a l s k y (2O0ia) for m o r e e x a m p l e s .

53. For the s o u r c e s , see E n d e r l e i n (1997): 89-92.

54. See Valentiner (1935) for e x a m p l e s f r o m the T u s c a n w o r k s h o p of T i n o di C a m a i n o . Clerical t o m b s f r o m R o m e a n d Lazio a r e d i s c u s s e d b y H e r k l o t z (1985) a n d G a r d n e r (i992a).

55. D e S t e f a n o (1560) fo. 184V, 'vi e u n s e p u l c r o di m a r m o f i n i s s i m o t r a s p a r e n t e c h e p a r e a l a b a s t r o , o v e sta il m o r t a l e d e d e t t o R e g i n a M a r i a ' .

56. D ' E n g e n i o C a r a c c i o l o (1623): 169, ' u n " a v e l l o di c a n d i d o m a r m o ' " .

57. For t h e d e s i g n of t h e c h a p e l a n d t h e r e l a t i o n s h i p b e t w e e n t o m b a n d frescoes, see H e r z n e r (1982). For m o r e recent d i s c u s s i o n s see C l a u s s e n (1995); J a c o b u s (1998,1999); D e r b e s a n d S a n d o n a (1998).

58. T h i s c a n clearly b e s e e n in later t o m b s of the A n g e v i n rulers, w h i c h c a m e to a n o v e r l y g r a n d i o s e c o n c l u s i o n in t h e t o m b of L a d i s l a s of D u r a z z o in San G i o v a n n i a C a r b o n a r a in N a p l e s .

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