his royal ascension through Simone Martini's employment of both dynastic and religious iconography. Iconographic parallels can be identified between Simone Martini's figure of Saint Louis of Toulouse and Arnolfo di Cambio's figure of Charles of Anjou. Both figures are shown frontally and are seated on lion-shaped thrones; they wield objects of power and wear jeweled crowns. Saint Louis is represented more like a great king than a Franciscan saint, emphasizing the altarpiece's political function. Much of the altarpiece's dynastic political power was derived from its decorative iconography. The most prominent dynastic icon featured in the altarpiece is the fleur-de-lys, the symbol of the French monarchy. The Angevins of Naples had descended from the French House of Capet and thus utilized the fleur-de-lys as their royal emblem. The fleur-de-lys motif is punched into the traditional Sienese gold ground, forming a decorative border around Simone Martini's main panel. The frame of the altarpiece is painted a deep blue and decorated with large gold fleurs-de-lys, modelled in deep relief. Below the frame is a predella in which Simone Martini painted five scenes from the life of Saint Louis of Toulouse. This would have proved challenging for Simone as Saint Louis had just been canonized, requiring him to invent a new set of iconography. These scenes function as both religious and dynastic icons by depicting the miracles of a saint from the Angevin dynasty. Two additional dynastic icons can be observed on the clasp of St Louis's cope: the red and yellow heraldic colors of Provence and the coat of arms of the Kingdom of Jerusalem. By presenting these two territories, both claimed by the Angevins, Simone has revealed the extent of Robert of Anjou's political reach. Architecture Robert of Anjou and his wife Sancha of Majorca financed the construction of the Franciscan double convent of Santa Chiara (Naples). The monastic complex was begun in around 1310 by the architect Gagliardo Primario and was completed by the 1340s. The structure included two cloisters to separately house the Poor Clares and the Franciscan friars. The main church comprised a long nave with nine lateral chapels on each side and a friars’ choir at the far end by the main altar. A wall stood behind the friars’ choir, separating it from the nuns’ choir located on the other side. A long gallery, supported by the lateral chapels, stretched across the length of the church, above which