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Monumento di Cristoforo (†1342) e Tommaso d'Aquino (†1357), conte di Belcastro

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Cristoforo d' Aquino Signore di Ponte Albaneto e Venamaggiore
+ 22.09.1342

Так как прочитать надпись на памятнике не удалось, а в описаниях указано, что он принадлежит Cristoforo (†1342) e Tommaso d'Aquino (†1357), conte di Belcastro, есть основание полагать, что эта информация неточная:
- судя по стилю памятника, он относится к ок. 1340-м (см. P0366),
- изображенные комплексы почти идентичны и соответствуют также периоду ок. 1340-х (к концу 1340-х сюрко переходит в короткое облегающее и обнажает наколенники - см. P0369, 1347),
- в единственной найденной очень подробной генеалогии d'Aquino присутствует Cristoforo (†1342), но ближайший к нему Tommaso d'Aquino - его сын (+после 1352 и ничем особым не выделялся) и его отец Tommaso II (+1338-39, Conte di Belcastro и очень знатный человек)
- в одном из описаний памятника указано, что на нем изображен Tommaso d'Aquino (†1357), conte di Belcastro, но титул "conte di Belcastro" имел Tommaso II (+1338-39) и передал через своего старшего сына Adinolfo (+1326-1337) своему внуку Tommaso III detto Tommasello (+1375), который совершенно не подходит по датировке к нашему памятнику
Таким образом, наиболее подходящими для нашего памятника являются Tommaso II d'Aquino (†1339) и его младший сын Cristoforo d'Aquino (†1342)

Есть особенности, которые требуют объяснения:
- у нижнего персонажа декоративная защита больше похожа на короткое сюрко, чем у верхнего;
- прическа у нижнего персонажа имеет прямые волосы, что соответствует более поздней моде (см. P0367, 1358), а у верхнего - с буклями;
- верхний персонаж имеет надгробную надпись в несколько строк, а нижний - всего одну строку;
- верхний персонаж имеет сюрко с вышивкой и гербом, а у нижнего никаких украшений нет;
- у нижнего персонажа рельеф складок не такой мягкий и есть вероятность, что это длинные фестоны (см. P0367, 1358, но наш подол слишком длинный)
- логично предположить, что предок имеет большую важность в глазах потомков и должен располагаться выше, чем его сын.

до получения дополнительной информации будем считать, что верхнее изображение представляет Cristoforo d'Aquino (†1342), а нижний персонаж - его сын Tommaso (+ minorenne, post 23-7-1352, ?1357), памятник построен для Cristoforo d'Aquino (†1342), а фигура его сына добавлена позже

Naples
Chiesa Sant'Anna dei Lombardi
Piccolomini Chapel was built in XV century by Florentine masters Antonio Gambarelli called Rossellino and Benedetto de Maiano. Chapel was reconstructed in XVI century by Guilio Mazzoni. In the chapel you are going to find splendid sepulcher of Maria de Aragona and it deserves special review. First what you are going to see in the chapel is the altarpiece with bas-relieve showing the scene of Nativity with Saint James and Saint John made by Rossellino in 1475.
On the left you will find the funeral slab of unknown knight who is shown in armors of first half of XIV century. Judging on his coat-of-arms on the chest of his surcoat we can presume that he was from Merloto Family and came here from France with the Neapolitan Kings of Anjou Dynasty. His armor consist of chain mail hauberk and chain mail hoses. Defense of his shins reinforced by leather grieves. Defense of upper hands and shoulders are reinforced with rearbraces and round pauldrons made out of boiled leather also known in French as "cuir bouilli" or boiled leather. Elbows are additionally protected by iron roundels.
Floor and bench are decorated with mosaics known as Cosmateschi or made by followers of famous masters of mosaic from Cosmatti Family. There is also excellent retable or triptych with the scene of Ascension of Jesus, on the side panels are Saint Nicholas of Bari and Saint Sebastian. You will find there many others masterpieces of XV-XVI centuries.

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Lastra funebre con rilievo raffigurante un cavaliere, particolare
Napoli
Chiesa di Monteoliveto, prima cappella sinistra (Piccolomini)

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La chiesa di Sant'Anna dei Lombardi (o anche di Santa Maria di Monteoliveto) e una chiesa monumentale di Napoli sita in piazza Monteoliveto

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Carluccio Vulcano
1345
Church of St Domenico Maggiore, Naples, Campania, Italy

Description: Lastra tombale.
Date of creation: DTZ.DTZG=sec. XIV;DTS.DTSI=1345;DTS.DTSF=1345;DTM=iscrizione; [Production]
Type: PhysicalObject; TSK=OA;; lastra tombale
Format: MISA=165;MISL=60;; marmo/ scultura
Subject: opere e oggetti d'arte; ATBD=bottega napoletana;ATBM=analisi stilistica;
Identifier: iccd:NCT NCTR=15;NCTN=00027959; [Metadata]; iccd:UID 1500027959 [Metadata]
Rights: proprieta Stato
Source: Progetto ArtPast- CulturaItalia
Data provider: Progetto ArtPast- CulturaItalia
Provider: Athena
Providing country: Italy

lastra tombale
Tipo: Oggetto fisico; lastra tombale
Tipo di scheda: Opere e oggetti d'arte
Categoria: Suppellettile liturgica
Autore: Ambito culturale: bottega napoletana - motivazione dell'attribuzione: analisi stilistica
Lastra tombale.
Stato di conservazione: discreto
Estensione: 165 x 60
Materia e tecnica: marmo/ scultura
Data di creazione: 1345 - 1345, sec. XIV (motivazione della cronologia: iscrizione)
Immagini di anteprima
lastra tombale
Fonte dati
ArtPast - catalogo opere d'arte / SBAPPSAE Napoli
Identificatore: Codice univoco ICCD: 1500027959
Diritti: proprieta Stato

Noble Horsemen in armour - Tombstones 14th century - Church of San Domenico Maggiore in Naples

Надгробные плиты братьев Томазо и Карлуччио Вулкано, 1337 и 1345 гг. Церковь Св. Доминика (S.Domenico Maggiore). Капелла Карафа (La Capella dei Carafa), Неаполь

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Campania--Napoli--Naples--S. Lorenzo Maggiore, Image 672
Author/Creator: Hutzel, Max
Creation Date: 1960-1990
Physical Desc.: Image 672 of 1299
Summary:
Medieval: Sculpture, architecture, architectural sculpture (including Roman spolia) 13-14th century Chapter house; sarcophagi, gravestones; wall painting. Fragment of mosaic; sculptural fragments in the Sala Capitolare. Post-medieval: Architecture, architectural sculpture, ceiling painting fresco cycle; prints depicting Venice c. 1845 (4), sculpture; life-size creche figures dressed in original Neapolitan costume Church restored in 1882, 1926, 1944; excavations under the transept undertaken between 1958-1962, and in the cloister in 1976, have revealed remains of a Roman macellum (market), street, and the paleochristian basilica of the 6th c. AD.; Antiquities: Pottery: black-glazed, archaic banded, domestic wares, bucchero; architectural terracottas, statuettes, lamps, sculpture fragments; Object Notes: 3 color negatives with no prints at the end.; General Notes: Most objects/paintings/frescoes unidentified. Three batches of photos with the same numbering system arrived. The second and third have been been assigned A and B respectively after their numbers, and should not be interfiled. Some of this material was catalogued by consultant Dr. R. Leighton at the site of S. Lorenzo in November 1987, and worksheets for the antiquities and medieval material were written. Photos 1-40 consist of some objects from excavations under the church; others possibly come from outside Naples. Photos 41-72 represent selections from unrestored material found in excavations under the cloister of the church. Photos 73-132 consist of medieval-renaissance ceramics on display in the museum of the church. As regards the paintings, a number are in S. Lorenzo, while others are from various parishes outside Naples, which were transferred to temporary storage in S. Lorenzo after the earthquake of 1982 (photos 196-284).
Notes:
German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.
ID/Acc. No.: 86.P.8
Is Part Of: Foto Arte Minore / Max Hutzel (accession number 86.P.8)

Napoli - Museo del Tesoro di San Lorenzo - Il Volto della Morte
Италия Кампания Неаполь

Tino di Camaino, Lastra tombale reimpiegata nel Quattrocento per Giovanni Caputo († 1487), Napoli, San Lorenzo Maggiore (foto Fototeca del Polo Museale della Campania, anteriore all’allestimento della lastra nel Museo dell’Opera).

Naples
BASILICA SAN LORENZO MAGGIORE TIP
Museo San Lorenzo Maggiore
Museum has five effigies of the knights in full suits of armor. All those effigies decorated the sepulchers of local military aristocracy and showed the figures of deceased, buried in the church of San Lorenzo Maggiore. Three figures are showing unknown knights. Inscription on one of five effigies says it belonged to Giovanni Caputo who died in 1487. In fact Giovanni Caputo couldn’t use such suit of armor because it is typical for first half of XIV century and in second half of XV all west European knights wore full plate gothic armors of absolutely different type. I believe the real reason for such confusion as very natural. Sometimes relatives of deceased couldn’t pay for already produced sepulcher. That means unpaid sepulcher usually stayed, sometimes for many decades in the workshop until poor gentry families who had no enough money to pay for brand new sepulcher could buy old one for cheaper price. Master just carved or re-carved new name on the stone. Another effigy situated under the icon of San Francesco with Franciscan Brothers and Claris Nuns belonged to sepulcher of two brothers Giovanni (died in 1356) and Giacomo (died in 1383) Barile. We cannot say definitely whose effigy is this but probably it shows Giovanni Barile because such armors were no longer in use after 1360s. All five effigies show us the knights in armor typical for the first half of XIV century and their armors consist of chain mail hauberks and chain mail hoses. Defense of their shins reinforced by iron or leather grieves. Defense of upper hands and shoulders are reinforced with rearbraces and round pauldrons made out of boiled leather also known in French as “cuir bouilli”. One knight has pauldrons made in form of Lion’s mugs. Elbows are additionally protected by iron roundels. These effigies make this museum another “must see” place for any researcher of medieval military history. Silly modern film makers still prefer equip medieval men-at-arms in their movies according to their fantasies but not real info.

Lastra tombale di Giovanni Caputo
Date of creation: DTZ.DTZG=sec. XV;DTS.DTSI=1487;DTS.DTSF=1487;DTM=bibliografia;DTM=iscrizione; [Production]
Estensione: 220 x 75
Materia e tecnica: marmo/ scultura
Data di creazione: 1487 - 1487, sec. XV (motivazione della cronologia: bibliografia) (motivazione della cronologia: iscrizione)

судя по идентичным образцам - см. P0384 (1340-45), этот образец можно датировать самой поздней из датировок диапазона (и даже позже) - сюрко стало короче и открывает колени