TY - JOUR TI - She loved more ardently than the rest DO - https://doi.org/doi:10.7282/T3M32TH4 PY - 2012 AB - In 1279, Charles of Salerno, the future King Charles II of Naples, discovered the body of the repentant prostitute Mary Magdalen, the foremost exemplar of penance in the late medieval period, at the church of Saint-Maximin in Provence. Immediately afterwards the first cycles of paintings depicting her life appeared in Italy. The Angevin dynasty of Naples, along with the Franciscan and Dominican Orders, promoted the Magdalen cult and its spread into Italy, yet there has been little inquiry into their use of visual imagery in this endeavor. My dissertation investigates the iconography and patronage of the earliest central and southern Italian painted cycles depicting her life, providing the first exploration of the use of narrative imagery to aid in the construction and development of the identity of Mary Magdalen. The visual expression of this identity, as created in six critically important cycles in Naples, Assisi, and Florence, played a vital role in her cult’s expansion. I contend that these pictorial narratives, all connected to the key advocates of her cult, were not merely illustrating the Magdalen’s life as they were transmitted in textual accounts, but instead were consciously used to craft the identity of the saint. These cycles thus visualize mendicant and Angevin interpretations of the Magdalen. The first chapter provides the historical context for interpreting the Magdalen pictorial vitae, presenting a summary of the biblical and legendary Magdalen literary material, and explaining her appeal for the three groups instrumental in promoting her cult in the period. It concludes with a discussion of the earliest Magdalen cycle, on the Magdalen Master Dossal in Florence. The second chapter explores the three Magdalen cycles in Naples within the context of Angevin promotion of the Magdalen cult. The third and fourth chapters investigate the Magdalen Chapel in the Basilica of St. Francis, Assisi, looking at the Magdalen cycle and the iconic imagery in the chapel as a Franciscan statement on penitence. The final chapter re-examines the Magdalen Chapel in the Palazzo del Podestà, Florence, arguing that it was a palace chapel commissioned by the Angevin Signore of Florence, King Robert. KW - Art History KW - Christian saints in art KW - Christian saints--Cult--Italy KW - Art, Medieval--Italy LA - eng ER -