Abstract
This paper focuses on the iconography of Filippino Lippi’s altarwall painting for
Carafa’s chapel in the Basilica of Santa Maria sopra Minerva, which was dedicated to the
Virgin Annunciation and Saint Thomas Aquinas.
Filippino painted the conclusion of the chapel’s thematic program onto the altarwall,
which combines the Annunciation with the Assumption through a highly illusionistic
representation. This composition is rare as the cycle of the Virgin’s life; therefore, I tried
to explain not only why these two themes were selected, but also Carafa’s intention to
contrive his chapel.
Accordingly, this study begins with the supposition that this altarwall exhibits
the Mariology of Thomas. As for the basis of my opinion, Carafa was one of the
Cardinal Protectors of the Dominicans, moreover, his unusual dedicated service to the
Dominicans may have stemmed from his personal devotion to Thomas. Following the
above, I try to interpret the iconography of this altarwall in the context of the Mariology
of Thomas, referring to his chief work, the Summa Theologica. Finally, I suggest that
Filippino’s pictorial style may refer to an aspect of Carafa’s religious milieu and that the
theological program of the chapel draws upon an intention to show off his place.
