Spazio ecclesiale e pale di "primitivi" in San Lorenzo Maggiore a Napoli: dal "San Ludovico" di Simone Martini al "San Girolamo" di Colantonio. I

• Autores: Francesco Aceto
• Localización: Prospettiva: rivista di storia dell'arte antica e moderna, ISSN 0394-0802, Nº. 137, 2010, págs. 2-50
• Idioma: italiano
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• Dialnet Métricas: 1 Cita
• Resumen

  • This two-part essay reconstruct botj the liturgical function and iconography of three painted altarpieces by primitive, wich were once displayed in some key areas of the presbytery of San Lorenzo Maggiore in Naples (the most important Franciscan convent from the Angevin reign). These are Simone Martini’s ‘Saint Louise of Tolouse in Glory’, Colantonio’s polyptych – showing ‘Saint Francis Giving the Canon to the Three Orders in the upper section’ and ‘Saint Jerome in His Study Removing the Thorn from the Lion’ in the lower (both in the Museo Nazionale di Capodimonte, Naples) – and, finally, ‘Saint Antony in Glory’, painted by Leonardo da Besozzo (but subsequently altered) which was displayed in a 17th century chapel in the left transept of the church.

    The first part of the essay is devoted to Simone Martini’s altarpiece. It addresses long-standing issues concerning its original location, its date of execution, patronage and indeed meaning. A careful re-reading of primary sources, as well as of archival material, alongside the painting’s peculiar features, has led the author to point to the main altar of the church as a location where Simone Martini’s ‘Saint Louis of Tolouse’ was first set up. Here the painting remained on display until 1528, when, as a consequence of a new artistic, religious and historical climate, it was replaced with the monumental marble altarpiece by Giovanni Mirigliano da Nola. The painting was then set against the partition of the Cappella della Regina (then Cappellone di Sant’Antonio).

    The author suggests that the employment of Simone Matini in the late spring of 1317 (a date that can be demonstrated with strong art-historical arguments), as well as the unusual choice of a hagiographic painting – wich moreover was dedicated to a newly elected saint – as the main altarpiece of the church were primarily due the patronage of the Angevin court. That the ‘Saint Louis’ must have been originally located on the main altar is corroborated by its iconography. This was inspired by the bull of canonization of the Saint, as well as by some letters fron the pope Giovanni XXII to the Saint’s family. A careful reading of the acts of canonization has allowed the author to reveal the meaning of the stories decorating the predella. They relate both visually and conceptually to the painting’s central scene showing the glorification of the Saint, where Simone Martini had demonstrated his ability in translating abstract doctrinal concepts into painted images.

    Thus far, the ‘Saint Louis of Tolouse’ has been predominantly interpreted as a political manifesto of the king Robert of Anjou, intended to support his legitimacy as a successor to the throne. The author, however, attributes to the painting a devotional meaning which responded to the expectations of the medieval viewer and to the intentions of the Franciscan friars.