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Robert of Anjou (1309–1343) Entry Robert of Anjou (1309–1343) Mirko Vagnoni Independent Researcher, I-50050 Gambassi Terme, Italy; [email protected] Definition: 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. Keywords: royal images; royal iconography; kings of Sicily; kings of Naples; Angevin dynasty; Robert of Anjou 1. Introduction Robert of Anjou was the third exponent of the Angevin dynasty on the throne of Sicily. He was crowned on 3 August 1309, and he ruled until his death on 20 January 1343. In reality, in these years, Sicily was under the domain of the Aragonese dynasty and, hence, Citation: Vagnoni, M. Robert of his authority was limited to the continental land of the Kingdom and his court was mainly Anjou (1309–1343). Encyclopedia 2021, focused in the city of Naples. He also held the title of King of Jerusalem and Count of 1, 812–821. https://doi.org/10.3390/ Provence, Forcalquier, and Piedmont and, during some periods, he was also proclaimed encyclopedia1030062 Lord of some cities of central and northern Italy, as well as Senator of Rome and Papal Vicar in the Italian territories of the Empire (in general, regarding Robert of Anjou, see [1] Academic Editor: Raffaele Barretta and, in more synthesis, [2], [3] (pp. 183–249), and [4]). Among his contemporaries, Robert had a reputation as an intellectual and he was frequently celebrated for his erudition and Received: 5 July 2021 wisdom (he was often compared to the biblical Solomon; see [5]), as well as for his marked Accepted: 9 August 2021 Published: 16 August 2021 religiosity (he was himself author of numerous sermons and two theological treatises; see [6]). In particular, the Angevin was an active patron in both the scientific-literary and Publisher’s Note: MDPI stays neutral artistic fields, and, exactly in this last sector, historians have highlighted an intense activity with regard to jurisdictional claims in in the commission of his own portraits for political and propagandistic purposes (in this published maps and institutional affil- regard, see lastly, but with references to the previous bibliography, [7,8]. On Robert of iations. Anjou’s portraits, we also point out [9]. Instead, regarding the propagandistic activity of Robert of Anjou in general, [10] is worthy of reporting). From an iconographic point of view, Robert of Anjou is particularly interesting because he was the first king of Sicily who made use, between his official representations (namely, commissioned directly by him or his entourage), not only of stereotyped images of himself, Copyright: © 2021 by the author. Licensee MDPI, Basel, Switzerland. but also of physiognomic portraits. In the first group are representations connected with This article is an open access article public employments and representing Robert in his institutional role of King (indeed, he is distributed under the terms and depicted while seated on a throne bearing a crown, sceptre, and globe). They are the royal conditions of the Creative Commons images on bulls and seals; the representations of the monarch on the coins minted in the Attribution (CC BY) license (https:// Kingdom of Sicily, in central and northern Italy, and in Provence; and the statue sculpted creativecommons.org/licenses/by/ by Tino da Camaino in approximately 1325 for the sarcophagus of Mary of Hungary in 4.0/). the presbytery of the Church of Santa Maria Donnaregina in Naples (despite this image Encyclopedia 2021, 1, 812–821. https://doi.org/10.3390/encyclopedia1030062 https://www.mdpi.com/journal/encyclopedia Encyclopedia 2021, 1, FOR PEER REVIEW 2 Encyclopedia 2021, 1 813 of Hungary in the presbytery of the Church of Santa Maria Donnaregina in Naples (de- beingspite placedthis image in a being religious placed context in a religious and having context limited and visibility, having limited it represented visibility, Robert it repre- in hissent institutionaled Robert in role his and, institutional indeed, herole had and, been indeed carved, he in had majesty). been carved in majesty). InIn the the secondsecond group,group, instead, are are representations representations connected connected with with religious religious and and devo- de- votionaltional contexts contexts and and associated associated,, so soto speak, to speak, with with the theprivate private sphere sphere and andthe personal the personal prac- practicestices of Robert of Robert.. They They represent represent the Angevin the Angevin as a devotee as a devotee (face in(face profile, in profile,kneeling kneeling position, position,small size, small and size,proximity and proximity to religious to subjects) religious while subjects) he carrie whiles out he liturgical carries out activities liturgical and activitiesdevotional and acts devotional. What is acts. more, What they is render, more, they following render, the following report on the the report bones on of the the bones King ofby the the King Istituto by the di IstitutoAnatomia di AnatomiaUmana Normale Umana dell’Università Normale dell’Universit di Napolià di in Napoli June 1959 in June (see 1959[11] (see(pp. [4011–]42 (pp.)), his 40–42)), real physical his real features physical: light features: brown light hair brown that fall hairs straight that falls down straight to the downneck and to the conclude neck ands with concludes a rather withtight acurl; rather shaved, tight thin curl;, and shaved, oblong thin, face; and protruding oblong face; and protrudingpointed chin; and accentuated pointed chin; jaw; accentuated thin lips; pronounced jaw; thin lips; nose; pronounced narrow eyes nose; that,narrow as well as eyes the that,cheeks, as wellare rather as the sunken cheeks, and are that rather highlight sunken the and cheekbones; that highlight high and the cheekbones;spacious forehead; high andand spacious deep wrinkles forehead; around and the deep nose wrinkles and mout aroundh (Figure the nose 1). This and entry mouth focuse (Figures on1 ).this This sec- entryond group focuses of onimages. this second In particular group, t ofhey images. are the Infollowing particular, four they artworks are the: Simone following Martini’s four artworks:altarpiece Simone, the Master Martini’s of Giovanni altarpiece, Barrile’s the Master panel, of the Giovanni Master of Barrile’s the Franciscan panel, the tempera’s Master ofcanvas the Franciscan, and the so tempera’s-called Lello canvas, da Orvieto’s and the so-called fresco (regarding Lello da Orvieto’s the identification fresco (regarding of Robert theof Anjou’s identification official of image Robert, see of [12] Anjou’s (pp. 97 official–110), image, with more see [information12] (pp. 97–110), and bibliographic with more informationreferences). and bibliographic references). FigureFigure 1. 1.Simone Simone Martini, Martini,Saint Saint LouisLouis ofof Toulouse Toulouse crowning crowning King King Robert Robert of of Anjou Anjou,, painting painting on on wood, wood, 1317–1319. Naples, Museo di Capodimonte. Detail of Robert’s face. Source: public domain image. 1317–1319. Naples, Museo di Capodimonte. Detail of Robert’s face. Source: public domain image. 2.2. Simone Simone Martini’s Martini’s Altarpiece Altarpiece ThisThis altarpiece, altarpiece, painted painted on on wood wood and and now now in in the the Museo Museo di di Capodimonte Capodimonte in in Naples, Naples, representsrepresents Saint Saint Louis Louis of of Toulouse Toulouse crowning crowning his his younger younger brother, brother King, King Robert Robert of of Anjou Anjou (Figure(Figure2) 2) (regarding (regarding this this image, image see:, see: [ 13 –[1713],–17] [18,] [18] (pp. ( 136–154),pp. 136–154 [19–),24 [19],– [2524],] (pp. [25] 133–147)). (pp. 133– The147) Sienese). The Sienese painter painter Simone Simone Martini M (whoartini directly (who signeddirectly the signed artwork the withartwork the inscriptionwith the in- «SIMONscription DE «SIMON SENIS MEDE PINXIT»)SENIS ME painted PINXIT») this painted altarpiece this indicatively altarpiece betweenindicatively the summerbetween ofthe 1317 summer and 1319 of 1317 (namely, and in1319 the (namely, years immediately in the years following immediately the canonisation following the of the canoni Saint).sa- Thetion panel of the has Saint). a main The bodypanel of has 250 a ×ma188in body cm and of 250 a predella × 188 cm of and 56 × a 205predella cm, butof 56 Julian × 205 Gardnercm, but hasJulian hypothesised Gardner has that, hypot originally,hesised itthat, also originally, had lateral it smallalso had columns lateral and, small at columns the top, aand, pinnacle at the with top, thea pinnacle image ofwith a blessing the image Christ of a [ 13blessing]. The mainChrist scene [13]. isThe enclosed main scene in a blueis en- bandclosed decorated in a blue withband lily decor flowersated with and, atlily the flowers top, a and, five-pointed at the top, red a labelfive-pointed (allusion red to la thebel heraldic(allusion symbol to the heraldic of Robert symbol himself). of Robert Moreover, himself) it has. Moreover, a golden it backgroundhas a golden edgedbackground with a weave of lilies. The panel represents Saint Louis of Toulouse seated on a throne while Encyclopedia 2021, 1, FOR PEER REVIEW 3 Encyclopedia 2021, 1 814 edged with a weave of lilies.
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