Old King Robert—Robert the Wise, as he is commonly styled—was buried behind the high altar in the Church of Santa Chiara that he had built himself, and where his splendid Gothic tomb may be seen to this day, having on it his likeness both as King and as Franciscan monk; for he was a tertiary of Franciscans and died, as becomes one, in their uniform. In the same church are to be found the tombs, too, of many of the actors in the tragedy of Queen Joan; of her father and mother and her little sister Maria, and of Maria’s children by three successive husbands, together with the graves of Charles of Durazzo and of Raimondo Cabano the Seneschal. And here, in passing, I would like to say that there are no churches in the whole world that can compare with the old churches of the city of Naples for the number and the beauty and the poignant interest of the tombs that these contain. Some days after King Robert’s burial in Santa Chiara, Joan was approached by Filippa Cabano with a request that she would create Filippa’s son Robert Grand Seneschal of the Kingdom in succession to his father, who was but shortly deceased; also that he might receive the title of Count of Eboli. To both these outrageous demands the young Queen at first turned a deaf ear; not until Filippa—who was accompanied by Robert in person—threatened to make known to all the world the fact of Joan’s new intrigue with Bertrand d’Artois did the young Queen surrender to her demands. It would seem that Filippa had, for some time, suspected the cooling of Joan’s fondness for her son, and so had determined to obtain from her for Robert a commanding and unassailable position in the State. In that same State of Naples, then, there were already two increasingly definite factions, each with a different aim; the party of the Dominican Father Robert and of the Hungarian nobles, that sought to bring about the supremacy of King Andrew and the subjugation of Queen Joan; and the party of Donna Filippa with their programme of “Naples for the Neapolitans”—that is, firstly of securing sole sovereignty for the Queen, and secondly of making the Queen herself the puppet of their own will and the instrument of their aggrandizement.