This is the second part of a study that appeared in 'Prospettiva', n. 137,in which the author threw new light on the original location, date of execution, patronage and iconological meaning of the Saint Louis by Simone Martini, which is the main altarpiece of San Lorenzo Maggiore in Naples.During the mid 15th century a group of paintings was produced to flank the Saint Louis, with the aim of reinforcing the Franciscan meaning of the most important section of the church. Positioned in the focal points of the transept, so that they could be visible from the choir by the friars during the Liturgy of the Hours, the altarpieces were dedicated to the main saints of the order. The only exception being the one representing Saint Jerome. His inclusion must be read as a consequence of the arrival in Naples of the Hieronymites, led by the blessed Pietro Gambacorti da Pisa, in 1446. Two particular circumstances seem to have influenced the 'genealogical' programme designed by the friars: on the one hand, the fractured state of the congregation, which was deeply divided between Conventuals and Observants; on the other, the need of the friars to respond to the ambitions of the other mendicant orders of Naples. For the execution of the most significant altarpieces, the friars engaged the two main painters active in the city at the time: Leonardo da Besozzo and Colantonio. In 1438 Leonardo executed the 'Saint Antony in Glory',conceived in competition with the famous 13th-century 'Crucifix' that allegedly 'had spoken' to Saint Thomas in San Domenico Maggiore, Naples. Installed on the altar against the left pilaster of the presbyterial arch, the friars dedicated to him a religious confraternity with the aim of promoting the cult of the icon. Colantonio's painting showing 'Saint Jerome in his study extracting thorns from the lion's paw' and 'Saint Francis giving the canon to the three Orders' (Museo di Capodimonte, Naples) was instead placed on the altar of Saint Jerome on the opposite side of the presbytery, to coincide with the canonization of Saint Bernardino of Siena in 1450. The altarpiece was complemented by blessed Franciscans along the side panels. In the 17th century, following the suppression of the altar, those panels (perhaps twelve overall) were dispersed. They reappeared at the beginning of the 20th century in various collections within and outside Italy. New discoveries made by the author have enabled him to pinpoint the date of the execution of Colantonio's painting and its original setting, while throwing light on the circumstances regarding its patronage. Contrary to what has been believed thus far, the painting seems to have been commissioned by the friars and not by king Alfonso I of Aragon. On this basis, and thanks to a careful reading of the inscriptions on the altarpiece, it is now possible to suggest a 'conventual' interpretation of the painting as opposed to the 'observant' reading so far maintained. The final part of the article examines the other two altarpieces. One, now lost, dedicated to Saint Bernardino, the other, extant in the church, representing 'The five martyrs of Morocco', with which the Franciscan iconological programme of Saint Lorenzo Maggiore was accomplished.