and Saint Catherine on the south wall; pairs of prophets and apostles, the life of Saint Elizabeth of Hungary, and the Passion of Christ on the north wall; an “angelic hierarchy” on the east wall. In 1308, Charles II commissioned Pietro Cavallini to paint a fresco cycle depicting three scenes from the life of Mary Magdalene in the Brancaccio chapel at the Dominican church of San Domenico Maggiore. The painter Giotto worked at the royal court of Naples from 1328 until 1332, during which time he painted a number of panel paintings and frescoes. All of these works are unfortunately lost, but a work by one of his followers survives in the Brancaccio Chapel at the church of San Domenico Maggiore, a fresco of Noli Me Tangere from around 1310. Robert of Anjou Painting Robert of Anjou was the third son of King Charles II and Mary of Hungary. Charles II's first son Charles Martel of Anjou had died by 1295, putting his second son Louis next in line for the throne. Louis, however, did not desire the crown of Naples, and would instead become bishop of the diocese of Toulouse in 1296. Louis and Charles II died in 1297 and in 1308 respectively, leading to Robert's coronation in 1309. By 1317, Louis, with the help of Robert's royal influence, was canonized as Saint Louis of Toulouse. The Neapolitan House of Anjou now possessed its own saint, which Robert of Anjou would use to his political advantage. It was around this year that the Sienese painter Simone Martini was commissioned, most likely by Robert of Anjou, to paint the Altarpiece of St Louis of Toulouse, now in the Museo Nazionale di Capodimonte. In this altarpiece, Saint Louis of Toulouse sits enthroned in his brown sackcloth and crimson jeweled cope, holding his crozier with his right hand and donning his bishop's mitre on his haloed head. Two angels hover over him, sustaining the crown of sainthood above his mitre. As he receives the celestial crown, the Saint, with his left hand, offers the Neapolitan crown to his brother Robert of Anjou, shown in profile, who kneels before him. Despite the presence of religious iconography, the altarpiece's motives were more political than devotional. Robert of Anjou's nephew Caroberto, as the son of Charles II's first son Charles Martel, had a legitimate claim to the Neapolitan throne. Robert of Anjou sought to validate