the father, prophets, evangelists, church doctors, and
others. This fresco is a unique example of a dialogue
between the Virgin and the kneeling saints. The Virgin’s
statements still remain inscribed on the step below her,
but the prayers originally offered by the saints have
disappeared from the scrolls that only two of them
still hold. The sense of space, defi ned by the canopy, is
noteworthy, as is the textured surface, which creates the
impression of a tapestry and includes insertions into the
plaster of colored glass and imitation gems, as well as
the earliest examples of patterned halos.
The Saint Louis Altarpiece, tempera on panel
(Naples, Capo-dimonte Museum) is signed. It was prob-
ably commissioned by Louis’s brother, King Robert of
Anjou, and shows angels crowning an enthroned Louis,
while the saint himself deposits a second crown on a
minuscule fi gure of Robert, kneeling at the right. It is
datable between 1317, when Louis was canonized, and
1319, when his remains were translated to a new tomb
in Marseilles in a ceremony attended by Robert, who
returned to Naples with Louis’s brain as a relic. Mar-
tini probably traveled to Naples to execute the picture.
Louis’s royal status is emphasized by the fl eur-de-lis and
other emblems on the frame and the saint’s robe. The
intricate tooling and use of glass, stones, silver, and gold
lend the work opulence. The narrative predella, the earli-
est of this form to survive, illustrates fi ve events from
the life, death, and miracles of Louis. Though the scenes
are set in different architectural interiors, the intuitive
perspective is synchronized in all fi ve, with orthogonals
moving toward the vertical axis of the central scene.
The narrative frescoes in the chapel of Saint Martin
of Tours (Assisi, basilica of San Francesco) have been
attributed to Martini since the nineteenth century for
stylistic reasons. The commission was funded by Gentile
di Partino da Montefi ore, a Franciscan cardinal from
the Marches who died in 1312. The paintings include
ten scenes from the legend of Martin and many sepa-
rate pictures of saints and angels, as well as a portrait
of the donor kneeling before Martin. The cycle was
probably painted after the donor’s death in 1312 but
before 1319, when a period of political strife in Assisi
would have prevented artistic activity in the basilica.
The dedication of an Italian chapel to Martin, a patron
saint of France who was born in Hungary, is surprising.
Perhaps the donor’s education in Paris and a later trip to
Hungary on a diplomatic mission inspired his choice.
The pictures treat Martin’s secular life, reign as bishop,
death, and funeral. Their narrative sequence is unusual,
moving from the bottom of the wall to the top. Though
the space is shallow in all the scenes, whether set in
architectural interiors or outdoors, the pictorial drama
is clearly articulated through the gestures and glances
of the fi gures—for example, a pauper in the fi rst scene
who grasps Martin’s cloak. Also impressive are the fa-
cial expressions of singers and details of costume such
as the colorful peaked hats from Hungary, both seen in
The Knighting of Saint Martin. Some scholars believe
that the frescoes illustrating the life of Saint Francis
elsewhere in the basilica infl uenced Martini’s style,
both in the Saint Martin cycle and in his later work.
Martini may also have been responsible for the three
stained-glass windows in the chapel. These windows
(of uncertain date) show Saint Martin and other fi gures.
According to Vasari, the Virgin and Child with Saints
and Five Saints, frescoes in the chapel of Santa Elisa-
betta in the basilica, were begun by Martini and fi nished
by Lippo Memmi.Siena, Orvieto, San Gimignano, and Pisa
(c. 1320–1335)
The Grieving Saint John (Barber Institute, Birmingham),
in tempera on wood, is dated 1320 but undocumented
before 1932. The saint’s emotions are beautifully ex-
pressed. This work is small in scale and was probably
part of a triptych painted for a private patron.
The frescoed Equestrian Portrait of Guidoriccio da
Fogliano (Siena, Palazzo Pubblico) is controversial.
Documents show that Simone dipentore painted at
least four pictures of castles in the Palazzo PubblicoMARTINI, SIMONESimone Martini. Saints Clare and Elizabeth of Hungary.
Fresco. © Scala/Art Resource, New York.