was a row of clerestory windows. The design of Santa Chiara alludes to the cathedrals of Provence and Catalonia. Santa Chiara's monumental scale surpassed that of all churches in the kingdom, turning this Franciscan convent into a display of Angevin royal power. Sculpture In order to further solidify his dynastic claims, Robert of Anjou initiated an ambitious campaign to erect funerary monuments for members of the Angevin dynasty. The tomb's structure inside of Santa Chiara was designed by architect Gagliardo Primario and the individual funerary monuments were erected by a number of different sculptors. Robert commissioned the Sienese sculptor Tino di Camaino to create the funerary monument for his mother, Mary of Hungary. Tino di Camaino had arrived at the royal court of Naples in 1323 and worked for the Angevins for the last fourteen years of his life. Unlike the other funerary monuments commissioned by Robert, which were to be erected inside of the monastic complex of Santa Chiara, Mary of Hungary was to be placed inside of Santa Maria Donna Regina. Tino's sculptural monument for Mary consisted of a sarcophagus decorated with seven niches, each one containing a sculpted figure of one of her seven sons. Featured most prominently in the central niche is St. Louis of Toulouse. Robert sits to his right, affirming the king's celestial ties. In this representation of Robert, as in Simone Martini's painting, his dynastic legitimacy is emphasized. He sits majestically, wearing a crown and holding symbols of royal power. The chest of Mary's tomb is adorned with figures depicting the four cardinal virtues: Prudentia, Temperantia. Justitia, and Fortitudo. Robert of Anjou's tomb was created by Florentine sculptors Pacio and Giovanni Bertini, who had most likely trained with Tino di Camaino. For his monument, erected inside of Santa Chiara, Pacio and Giovanni Bertini represented Robert of Anjou in a relief at the center of the sarcophagus, in a recumbent effigy on the sarcophagus, and in a free-standing sculpture. In the free-standing sculpture, Robert is portrayed as an enthroned Roman ruler, much like in Arnolfo di Cambio's statue of his grandfather, Charles I. In the recumbent effigy, however, Robert is barefoot and wearing a friar's tunic, showing his devotion to the Franciscan order. In the relief at the center of the sarcophagus, Robert is depicted with members of his royal family, including his successor, his granddaughter Joan I of Naples. With this funerary monument,