Abstract

The present work proposes to investigate, through an analysis of certain artistic works, the reasons that led Giovanni of Capestrano to be included, or not included, in the Franciscan family tree. After engaging the same theme with respect to the early martyrs of the Order of Friars Minor,1 and, more recently, the representation of Saint Louis of Toulouse in the subject under investigation,2 this investigation of the figure of the friar from Abruzzo represents a further opportunity to propose certain artistic examples - and doing so without any pretense of an exhaustive presentation, in light of the limits of space allowed here - in the hopes of proposing a path for future research that might be followed in later...