DOCSLIB.ORG

1 Bartolomé Ordóñez and Workshop, Tomb of Joanna of Castile and Philip of Burgundy, 1519–1533

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
1 Bartolomé Ordóñez and Workshop, Tomb of Joanna of Castile and Philip of Burgundy, 1519–1533 ____ 1 Bartolomé Ordóñez and workshop, tomb of Joanna of Castile and Philip of Burgundy, 1519–1533. Granada, Capilla Real CHARLES V, BARTOLOMÉ ORDÓÑEZ, AND THE TOMB OF JOANNA OF CASTILE AND PHILIP OF BURGUNDY IN GRANADA AN ICONOGRAPHICAL PERSPECTIVE OF A MAJOR ROYAL MONUMENT OF RENAISSANCE EUROPE Tommaso Mozzati The tomb of Joanna of Castile (known as ‘the Princesa enamorada sin ser correspondida Mad’) and Philip of Burgundy (known as ‘the Hand- Clavel rojo en un valle profundo y desolado. some’) in the Capilla Real in Granada (Fig. 1)1 has La tumba que te guarda rezuma tu tristeza long been on this path. Not only has the tomb’s im- A través de los ojos que han abierto sobre el mármol. Elegía a Doña Juana agery become obscure to us, it is also difficult to estab- (Federico García Lorca, , 1918) lish what events the tomb echoes. Any monument intended to resist the future speaks Commissioned between 20 November and 21 to the present: inevitably, it reflects the ambitions, ac- December 1518 and carved in Carrara, the monument cidents, and circumstances of the time in which it was was only transported to Spain in 1533 after a series of conceived. As a result, its language and symbols risk circumstances had hindered its execution. The pieces becoming mute with the passage of time. still remained at the port of Cartagena until 1539, 1 Among the contributions largely dedicated to the tomb of Joan- , exh. cat. Pietrasanta 1992, ed. by Amedeo Mercurio, Florence 1994, ’500 na and Philip subsequent to the reprint of the seminal study by Manuel pp. 101–136: 112–118, 134f.; Patrick Lenaghan, “The Arrival of the Ital- Gómez-Moreno, , Madrid 1983 (first ed. ian Renaissance in Spain: The Tombs of Domenico Fancelli and Bartolomé Las águilas del Renacimiento español Madrid 1941), the following titles can be mentioned: María José Redon- Ordóñez”, Ph.D. diss., New York University 1993, pp. 389–396; Miguel do Cantera, “Nuevos datos sobre la realización del sepulcro de Felipe el Ángel León Coloma, “Los mausoleos reales y la cripta”, in: El libro de la Hermoso y Juana la Loca”, in: , ed. by José Manuel Pita Andrade, Granada 1994, pp. 69–95: Boletín del Seminario de Arte y Arqueología de la Capilla Real , XLIX (1983), pp. 325–330; Luciano Migliaccio, 82–93 and 95, notes 16–21; , “Lenguajes plásticos y propaganda dinás- Universidad de Valladolid idem “Carrara e la Spagna nella scultura di primo Cinquecento”, in: tica en la Capilla Real de Granada”, in: , exh. cat. Le vie del Jesucristo y el emperador cristiano Granada 2000, ed. by Francisco Javier Martínez Medina, Córdoba 2000, marmo: aspetti della produzione e della diffusione dei manufatti marmorei tra ’400 e | 175 ____ 2 Bartolomé Ordóñez and workshop, tomb of Joanna of Castile and Philip of Burgundy, back side with Saint John the Baptist (left) and Saint Andrew (right). Granada, Capilla Real pp. 376–393: 379–382; Luciano Migliaccio, “Precisiones sobre la activi- ed. by Letizia Gaeta, Galatina 2007, I, pp. 125–146: 125–132; Patrick dad de Bartolomé Ordóñez en Italia y la recepción del Renacimiento italia- Lenaghan, “ ‘It Shall All Be Roman’: Early Patrons of Italian Renaissance no en la Península Ibérica”, in: Tombs in Spain”, in: , ed. by Sarah Schroth, El modelo italiano en las artes plásticas de la península Art in Spain and the Hispanic World , ed. by María José Redondo Cantera, Valladolid London 2010, pp. 213–234: 225–227; María José Redondo Cantera, “Los ibérica durante el Renacimiento 2004, pp. 377–392; Gisela Noehles-Doerk, “Die Realisation der Grab- sepulcros de la Capilla Real de Granada”, in: Juana I en Tordesillas: su mun- malplanungen der Katholischen Könige”, in: , ed. by Miguel Ángel Zalama, Valladolid 2010, pp. 185–214: Grabkunst und Sepulkralkultur in do, su entorno , ed. by Barbara Borngässer/Henrik Karge/Bruno Klein, 203–214; Miguel Ángel Zalama, Spanien und Portugal Juana I: arte, poder y cultura en torno a una reina Frankfurt on the Main 2006, pp. 379–402: 395–402; María José Redondo , Madrid 2010, pp. 346–349; María José Redondo Cantera, que no gobernó Cantera, “La Capilla Real de Granada como Panteón dinástico durante los “Luci e ombre al ritorno in Spagna di Diego de Siloé e Bartolomé Ordóñez reinados de Carlos V y Felipe II: problemas e indecisiones. Nuevos datos (1517–1527)”, in: Norma e capriccio: spagnoli in Italia agli esordi della “maniera mod- sobre el sepulcro de Felipe el Hermoso y Juana la Loca”, in: , exh. cat., ed. by Antonio Natali/Tommaso Mozzati, Florence 2013, Grabkunst und erna” , pp. 403–418; Luciano Migliaccio, “Uno pp. 181–191: 182f.; Michela Zurla, “Domenico Fancelli, i re di Spagna e la Sepulkralkultur in Spanien und Portugal spagnuolo: Bartolomé Ordóñez sulle rotte mediterranee del marmo”, in: congiuntura carrarese”, , pp. 132–145: 137; Francesco Pastore, “L’ar- ibidem , te di Bartolomé Ordóñez tra Spagna e Italia”, in: La scultura meridionale in età moderna nei suoi rapporti con la circolazione mediterranea Arte y cultura en la Granada 176 | TOMMASO MOZZATI | when they were transferred to the Hospital Real in basement follow an analogous scheme: only the one Granada. There, several decades later, in 1603, the under the heads of the statues of the two monarchs tomb was finally erected at its intended destination is a quartered shield, referring to the conjugal union alongside the sepulchre dedicated to the Catholic of Joanna and Philip (Fig. 4). Significantly, this last is Kings: this operation was executed by the architect oriented toward the central nave of the Capilla Real, Francisco de Mora upon the orders of King Phil- thus emphasizing the dynastic alliance between Bur- ip III.2 The monument is an articulated structure, or- gundy and Spain.5 The imposing socle of the tomb ganized on two levels: the sarcophagus (on which the shows a tondo on each side representing one episode two lie) and a historiated basement below.3 The of the life of Christ (Fig. 5), and twelve niches with figuresgisants of the dead monarchs are associated with a pair allegorical figures are distributed around its perimeter of heraldic animals coiled at their feet – a lion and a (two on the short sides, four on the long ones; Fig. 6). lioness – which are linked to the royal title of the bride This paper examines some well-known archival ev- and groom.4 On the contrary, the saints at the four idence in order to establish a more coherent outline of corners of the high socle should be read according to a the tomb’s conception, overall design, drawn-out pro- bipartite scheme, as references to the two different dy- duction, and political aims. In so doing, it advances a nasties of the king and queen: Saint Andrew and Saint new iconographic reading of the imagery of the mon- Michael are the patrons of Burgundy, Saint John the ument in relation to its political context, especially of Evangelist and Saint John the Baptist the protectors of the four figurative corners that complete the structure Castile (Fig. 2). The widespread use of the imprese of on the edges of the pedestal, at the same time reflecting the two countries follows the same genealogical du- on the reliefs incorporated on the sides of the tomb. ality: in fact, they are rigidly distributed around the Moreover, it explains the sepulchre’s tortuous genesis of Joanna and the effigy of Philip, with the -ar in light of the difficult succession experienced by the rowsgisant and yoke for the former (Fig. 3) and the Golden Spanish crown after the death of Ferdinand of Aragon Fleece and Saint Andrew’s cross for the latter. Predict- and Isabella of Castile, when, during the first quarter ably, even the three heraldic shields placed around the of the sixteenth century, the Iberian monarchy began , ed. by José Policarpo Cruz Cabrera, , Madrid 1608, c. 83v). The erection of the mar- renacentista y barroca: relaciones e influencias güedad y excelencias de Granada Granada 2014, I, pp. 323–345: 338–340. ble tomb of Joanna and Philip is documented by later seventeenth-century 2 Redondo Cantera 1983 (note 1); León Coloma 1994 (note 1), sources: Justino Antolínez de Burgos, , Granada Historia eclesiástica de Granada pp. 82f. and 95, note 17; Redondo Cantera 2010 (note 1), pp. 203–207. 1996 (11623), p. 144; Francisco Henríquez de Jorquera, , Anales de Granada A plan of the building found in the archive of the Capilla Real documents Granada 1987 (11646), I, p. 70. the position of the sepulchre of the Catholic Kings and the provisional 3 An exhaustive description of the monument and its elements is con- tombs of Joanna and Philip before the erection of their monument; cf. Ma- tained in Redondo Cantera 2010 (note 1), pp. 203–214. nuel Reyes Ruiz, “Quinientos años de historia”, in: 4 Philip the Handsome was crowned king of Castile in 1506 by the El libro de la Capilla Real (note 1), pp. 34–47: 36. In 1608 Francisco Bermúdez de Pedraza recorded Cortes de Valladolid after the Concordia de Villafáfila. this placement of the burial tombs in the Capilla Real: “por colaterales ay 5 For the epitaph placed on the short side of the tomb in front of the otros dos tumulos cubiertos de panos de oro, y sobre cada unos dellos una see Manuel Ramírez Sánchez, “La tradición de la epigrafía anti- retablo mayor almohada de brocado, y corona de oro, por los Reyes don Felipe Primero y gua en las inscripciones hispanas de los siglos XV y XVI”, in: , XXIX Veleia doña Juana su muger. Estos tres tumulos estan cercados con una armadura (2012), pp.
Load more

Recommended publications
  • University of Southampton Research Repository
    University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non- commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Katarzyna Kosior (2017) "Becoming and Queen in Early Modern Europe: East and West", University of Southampton, Faculty of the Humanities, History Department, PhD Thesis, 257 pages. University of Southampton FACULTY OF HUMANITIES Becoming a Queen in Early Modern Europe East and West KATARZYNA KOSIOR Doctor of Philosophy in History 2017 ~ 2 ~ UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES History Doctor of Philosophy BECOMING A QUEEN IN EARLY MODERN EUROPE: EAST AND WEST Katarzyna Kosior My thesis approaches sixteenth-century European queenship through an analysis of the ceremonies and rituals accompanying the marriages of Polish and French queens consort: betrothal, wedding, coronation and childbirth. The thesis explores the importance of these events for queens as both a personal and public experience, and questions the existence of distinctly Western and Eastern styles of queenship. A comparative study of ‘Eastern’ and ‘Western’ ceremony in the sixteenth century has never been attempted before and sixteenth- century Polish queens usually do not appear in any collective works about queenship, even those which claim to have a pan-European focus.
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles Marvelous Generations: Lancastrian Genealogies and Translation in Late Medieval and Early M
    UNIVERSITY OF CALIFORNIA Los Angeles Marvelous Generations: Lancastrian Genealogies and Translation in Late Medieval and Early Modern England and Iberia A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in English by Sara Victoria Torres 2014 © Copyright by Sara Victoria Torres 2014 ABSTRACT OF THE DISSERTATION Marvelous Generations: Lancastrian Genealogies and Translation in Late Medieval and Early Modern England and Iberia by Sara Victoria Torres Doctor of Philosophy in English University of California, Los Angeles, 2014 Professor Christine Chism, Co-chair Professor Lowell Gallagher, Co-chair My dissertation, “Marvelous Generations: Lancastrian Genealogies and Translation in Late Medieval and Early Modern England and Iberia,” traces the legacy of dynastic internationalism in the fifteenth, sixteenth, and early-seventeenth centuries. I argue that the situated tactics of courtly literature use genealogical and geographical paradigms to redefine national sovereignty. Before the defeat of the Spanish Armada in 1588, before the divorce trials of Henry VIII and Catherine of Aragon in the 1530s, a rich and complex network of dynastic, economic, and political alliances existed between medieval England and the Iberian kingdoms. The marriages of John of Gaunt’s two daughters to the Castilian and Portuguese kings created a legacy of Anglo-Iberian cultural exchange ii that is evident in the literature and manuscript culture of both England and Iberia. Because England, Castile, and Portugal all saw the rise of new dynastic lines at the end of the fourteenth century, the subsequent literature produced at their courts is preoccupied with issues of genealogy, just rule, and political consent. Dynastic foundation narratives compensate for the uncertainties of succession by evoking the longue durée of national histories—of Trojan diaspora narratives, of Roman rule, of apostolic foundation—and situating them within universalizing historical modes.
    [Show full text]
  • Fluc 2º Ciclo - Mestrado
    UNIVERSIDADE DE COIMBRA FACULDADE DE LETRAS - FLUC 2º CICLO - MESTRADO HISTÓRIA DA IDADE MÉDIA: ESPAÇOS, PODERES, QUOTIDIANOS D. ISABEL DE PORTUGAL, ÍNCLITA DUQUESA DA BORGONHA (1430-1471), DIPLOMATA EUROPEIA DO SÉCULO XV Contributo para uma bibliografia crítica. FELIPE PARISOTO COIMBRA 2011 FELIPE PARISOTO D. ISABEL DE PORTUGAL, ÍNCLITA DUQUESA DA BORGONHA (1430-1471), DIPLOMATA EUROPEIA DO SÉCULO XV Contributo para uma bibliografia crítica. Dissertação em História da Idade Média, apresentada à Faculdade de Letras da Universidade de Coimbra, sob a orientação da Professora Doutora Maria Teresa Nobre Veloso. COIMBRA 2011 Aos meus Pais A cada um a dama abençoa Pela sua doçura, pela sua sabedoria Viva a senhora, e bendito seja Quem nos dá tal princesa! Martin le Franc (séc.xv) AGRADECIMENTOS O estudo que a seguir apresentamos resultou de muitos meses de trabalho e de pesquisa. A sua conclusão deve-se, em grande parte, não só ao valioso apoio e auxílio de meus Pais e de meus Mestres, mas também ao estímulo dos meus Amigos. Por isso, aqui desejo deixar-lhes expresso o meu reconhecimento. Aos meus Pais agradeço, penhoradamente, a aposta feita na minha formação superior e o apoio financeiro. À minha orientadora, Prof. Doutora Maria Teresa Nobre Veloso, o meu bem- haja pela inteira disponibilidade com que me apoiou e auxiliou, ora corrigindo, ora sugerindo, inúmeros aspectos que me tinham escapado durante a elaboração do meu estudo. Aos meus Professores da Universidade de Coimbra, do Curso de Mestrado de História da Idade Média, agradeço a formação completamente nova que me propiciaram, apurando o meu olhar para a Península Ibérica (e em particular para a História medieval portuguesa), de modo bem diferente daquilo que havia aprendido no Brasil.
    [Show full text]
  • J. J. González García, Charles V and the Habsburgs' Inventories, RIHA
    RIHA Journal 0012 | 11 November 2010 Charles V and the Habsburgs' Inventories. Changing Patrimony as Dynastic Cult in Early Modern Europe Juan uis !on"#lez !arc$a Peer revie% and editing organized by& Instituto Amatller de Arte Hispánico, Barcelona 'evie%ers& Antoni José itarch, "antia#o Alcolea Blanc! (bstract Apart from a deep respect for the achievements of the Habsburgs, Emperor Maximilian I transmitted to his heirs a practical attitude towards their art collections. Pearls and precious stones were extracted from set pieces to produce new ones; old fashioned !eweller" or silver ob!ects were melted down; and tapestries, paintings and sculptures were publicl" sold to pay off debts. #" stud"ing how some of these goods were reused, recycled, and recirculated among the Habsburg famil" members, I will explain how crown patrimon" changed owners and $ingdoms, and how the cult of their d"nast", activel" promoted b" %harles &, heightened the notion of a collective consciousness which served as a topos for aristocratic collecting in the 'enaissance. Contents Introduction $!e %r#ani&ation o' (arl) Habsbur# Inventories and t!e Hierarchy o' *edia +!an#in# $aste and t!e *anipulation o' t!e %b,ect +!arles -'s Inventories and t!e +reation o' an (mpire /)nastic *arria#es, /)nastic Inventories Introduction ()* +he ro"al inventories of the Habsburgs are documents of extraordinar" importance for the anal"sis of art collecting in the Modern Age. +he" are often the onl" available tools to interpret the value, arrangement, uses and original functions of the ever changing princel" possessions , today !ust partiall" preserved ,, and provide us with references about the best European painters, sculptors, goldsmiths, weavers, or armourers of the time, to name but a few.
    [Show full text]
  • The Portrait of Juana of Austria in the Bilbao Fine Arts Museum
    IN THE KING’S NAME The Portrait of Juana of Austria in the Bilbao Fine Arts Museum Leticia Ruiz Gómez This text is published under an international Attribution-NonCommercial-NoDerivs Creative Commons licence (BY-NC-ND), version 4.0. It may therefore be circulated, copied and reproduced (with no alteration to the contents), but for educational and research purposes only and always citing its author and provenance. It may not be used commercially. View the terms and conditions of this licence at http://creativecommons.org/licenses/by-ncnd/4.0/legalcode Using and copying images are prohibited unless expressly authorised by the owners of the photographs and/or copyright of the works. © of the texts: Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao Photography credits © Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao: fig. 1 © Kunsthistorisches Museum, Wien: fig. 7 © Musées Royaux des Beaux Arts de Belgique, Bruxelles: fig. 4 © Museo Nacional del Prado, Madrid: figs. 2, 3, 5, 9 and 10 © Patrimonio Nacional, Madrid: figs. 6 and 8 Text published in: B’06 : Buletina = Boletín = Bulletin. Bilbao : Bilboko Arte Eder Museoa = Museo de Bellas Artes de Bilbao = Bilbao Fine Arts Museum, no. 2, 2007, pp. 85-123. Sponsored by: 2 n the 1550s Princess Juana of Portugal was a regular subject for portrait artists, being one of the leading women in the House of Austria, the dynasty that dominated the political scene in Europe throughout the I16th century. The youngest daughter of Charles V and Isabella of Portugal, she had a special role to play in her father’s geopolitical strategies, first as the wife of the heir to the Portuguese throne, to whom she bore a posthumous son who would eventually come to the throne of Spain’s neighbour, and subsequently as regent of the Emperor’s peninsular territories.
    [Show full text]
  • Research Report Events & Activities July 2015 — December 2018 Kunsthistorisches Institut in Florenz — Max-Planck-Institut Institut in Florenz Kunsthistorisches
    Research Report Events & Activities July 2015 — December 2018 Kunsthistorisches Institut in Florenz — Max-Planck-Institut Institut in Florenz Kunsthistorisches Research Report Kunsthistorisches Institut in Florenz Max-Planck-Institut Events & Activities July 2015 — December 2018 Kunsthistorisches Institut in Florenz Max-Planck-Institut Via Giuseppe Giusti 44 50121 Florence, Italy Phone +39 055 249 11-1 Fax + 39 055 249 11-55 www.khi.fi.it © 2019 Editors: Alessandro Nova and Gerhard Wolf Copy editing and proof-reading: Hannah Baader, Carolin Behrmann, Helene Bongers, Robert Brennan, Jason Di Resta, Dario Donetti, Hana Gründler, Stephanie Hanke, Annette Hoffmann, Lucy Jarman, Fabian Jonietz, Albert Kirchengast, Marco Musillo, Oliver O’Donnell, Jessica N. Richardson, Brigitte Sölch, Eva-Maria Troelenberg, Tim Urban, and Samuel Vitali Design and typesetting: Micaela Mau Print and binding: Stabilimento Grafico Rindi Cover image: Antonio Di Cecco, Monte Vettore, June 2018 Contents 7 Scientific Advisory Board 9 Events & Activities of the Institute 11 Conferences 31 Evening Lectures 34 Seminars & Workshops 38 Matinées & Soirées 39 Study Trips 41 Awards, Roundtables & Presentations 42 Labor 45 Ortstermin 46 Study Groups 47 Studienkurse 50 Online Exhibitions 51 Exhibition Collaborations 53 Academic Activities of the Researchers 54 Teaching 57 Talks 81 External Conference Organization 84 Curated Exhibitions 86 Varia 93 Publications 94 Publications of the Institute 97 Publications of the Researchers 117 Staff Directories Scientific Advisory Board Prof. Dr. Maria Luisa Catoni IMT School for Advanced Studies Lucca Prof. Dr. Elizabeth Edwards De Montfort University Prof. Dr. Jaś Elsner Corpus Christi College Prof. Dr. Charlotte Klonk Humboldt-Universität zu Berlin Institut für Kunst- und Bildgeschichte Prof. Dr.
    [Show full text]
  • Catherine of Aragon the Spanish Queen of Henry Viii 1St Edition Pdf, Epub, Ebook
    CATHERINE OF ARAGON THE SPANISH QUEEN OF HENRY VIII 1ST EDITION PDF, EPUB, EBOOK Giles Tremlett | 9780802779168 | | | | | Catherine of Aragon The Spanish Queen of Henry VIII 1st edition PDF Book About this Item: Faber and Faber, I previously knew very little of Catherine of Aragon other than that she was Henry VIII's first wife and that her tenure in that role lasted longer than that of the other five wives put together. Henry VIII has always, to me anyway, comes across as a weak, moody,immature, totally unstable and petulant child. First edition. If you are looking for a good biography of a Catherine then I w This biography was just brilliant, it was really well written and informative, it felt very sympathetic to Catherine which to be honest is fine by me. Basically, Catherine has been reduced to the long-suffering figure of "the wife. I don't think this book did justice to Catherine. Catherine of Aragon Katharine the Quene. It added nothing more than what I knew already from general history. Note; this is an original article separated from the volume, not a reprint or copy. She also proved to be a capable ruler. About this Item: Vintage, New York, Catherine was of royal descent, being the daughter of Ferdinand V of Aragon and Isabel I of Castile and at the age of three she was betrothed to Henry VII's son and heir Arthur, Prince of Wales, as the intention was to join her native Spain to England and thus she would become an integral part of the Tudor dynasty.
    [Show full text]
  • Cortés After the Conquest of Mexico
    CORTÉS AFTER THE CONQUEST OF MEXICO: CONSTRUCTING LEGACY IN NEW SPAIN By RANDALL RAY LOUDAMY Bachelor of Arts Midwestern State University Wichita Falls, Texas 2003 Master of Arts Midwestern State University Wichita Falls, Texas 2007 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY December, 2013 CORTÉS AFTER THE CONQUEST OF MEXICO: CONSTRUCTING LEGACY IN NEW SPAIN Dissertation Approved: Dr. David D’Andrea Dissertation Adviser Dr. Michael Smith Dr. Joseph Byrnes Dr. James Cooper Dr. Cristina Cruz González ii Name: Randall Ray Loudamy Date of Degree: DECEMBER, 2013 Title of Study: CORTÉS AFTER THE CONQUEST OF MEXICO: CONSTRUCTING LEGACY IN NEW SPAIN Major Field: History Abstract: This dissertation examines an important yet woefully understudied aspect of Hernán Cortés after the conquest of Mexico. The Marquisate of the Valley of Oaxaca was carefully constructed during his lifetime to be his lasting legacy in New Spain. The goal of this dissertation is to reexamine published primary sources in light of this new argument and integrate unknown archival material to trace the development of a lasting legacy by Cortés and his direct heirs in Spanish colonial Mexico. Part one looks at Cortés’s life after the conquest of Mexico, giving particular attention to the themes of fame and honor and how these ideas guided his actions. The importance of land and property in and after the conquest is also highlighted. Part two is an examination of the marquisate, discussing the key features of the various landholdings and also their importance to the legacy Cortés sought to construct.
    [Show full text]
  • African Art at the Portuguese Court, C. 1450-1521
    African Art at the Portuguese Court, c. 1450-1521 By Mario Pereira A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Department of History of Art and Architecture at Brown University Providence, Rhode Island May 2010 © Copyright 2010 by Mario Pereira VITA Mario Pereira was born in Boston, Massachusetts in 1973. He received a B.A. in Art History from Oberlin College in 1996 and a M.A. in Art History from the University of Chicago in 1997. His master’s thesis, “The Accademia degli Oziosi: Spanish Power and Neapolitan Culture in Southern Italy, c. 1600-50,” was written under the supervision of Ingrid D. Rowland and Thomas Cummins. Before coming to Brown, Mario worked as a free-lance editor for La Rivista dei Libri and served on the editorial staff of the New York Review of Books. He also worked on the curatorial staff of the Isabella Stewart Gardner Museum where he translated the exhibition catalogue Raphael, Cellini and a Renaissance Banker: The Patronage of Bindo Altoviti (Milan: Electa, 2003) and curated the exhibition Off the Wall: New Perspectives on Early Italian Art in the Gardner Museum (2004). While at Brown, Mario has received financial support from the Graduate School, the Department of History of Art and Architecture, and the Program in Renaissance and Early Modern Studies. From 2005-2006, he worked in the Department of Prints, Drawings and Photographs at the Museum of Art, Rhode Island School of Design. In 2007-2008, he received the J. M. Stuart Fellowship from the John Carter Brown Library and was the recipient of an Andrew W.
    [Show full text]
  • Unit 7: Activities - the Habsburgs
    Activites - The Habsburgs by Gema de la Torre is licensed under Unit 7: Activites – a Creative Commons Reconocimiento-NoComercial 4.0 Internacional License The Habsburgs Unit 7: Activities - The Habsburgs Index 1. Origin of the house of Habsburg. ................................................................................................... 1 2. Charles I ......................................................................................................................................... 2 2.1. Inheritance of Charles I .......................................................................................................... 2 2.2. Internal Problems. .................................................................................................................. 3 2.3. International Relations ........................................................................................................... 4 3. Philip II .......................................................................................................................................... 5 3.1. Philip II's Government ........................................................................................................... 5 4. Minor Austrias................................................................................................................................ 7 4.1. Philip III ................................................................................................................................. 8 4.2. Philip IV ................................................................................................................................
    [Show full text]
  • The Granada Venegas Family, 1431-1643: Nobility, Renaissance and Morisco Identity
    The Granada Venegas Family, 1431-1643: Nobility, Renaissance and Morisco Identity By Elizabeth Ashcroft Terry A dissertation submitted in partial satisfaction Of the requirements for the degree of Doctor of Philosophy in History in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Thomas Dandelet, Chair Professor Jonathan Sheehan Professor Ignacio E. Navarrete Summer 2015 The Granada Venegas Family, 1431-1643: Nobility, Renaissance, and Morisco Identity © 2015 by Elizabeth Ashcroft Terry All Rights Reserved The Granada Venegas Family, 1431-1643: Nobility, Renaissance and Morisco Identity By Elizabeth Ashcroft Terry Doctor of Philosophy in History University of California-Berkeley Thomas Dandelet, Chair Abstract In the Spanish city of Granada, beginning with its conquest by Ferdinand and Isabella in 1492, Christian aesthetics, briefly Gothic, and then classical were imposed on the landscape. There, the revival of classical Roman culture took place against the backdrop of Islamic civilization. The Renaissance was brought to the city by its conquerors along with Christianity and Castilian law. When Granada fell, many Muslim leaders fled to North Africa. Other elite families stayed, collaborated with the new rulers and began to promote this new classical culture. The Granada Venegas were one of the families that stayed, and participated in the Renaissance in Granada by sponsoring a group of writers and poets, and they served the crown in various military capacities. They were royal, having descended from a Sultan who had ruled Granada in 1431. Cidi Yahya Al Nayar, the heir to this family, converted to Christianity prior to the conquest. Thus he was one of the Morisco elites most respected by the conquerors.
    [Show full text]
  • J. J. González García, Charles V and the Habsburgs' Inventories, RIHA
    RIHA Journal 0012 | 11 November 2010 Charles V and the Habsburgs' Inventories. Changing Patrimony as Dynastic Cult in Early Modern Europe Juan Luis González García Peer review and editing organized by: Instituto Amatller de Arte Hispánico / Amatller Institute of Hispanic Art, Barcelona Reviewers: Antoni José Pitarch, Santiago Alcolea Blanch Abstract Apart from a deep respect for the achievements of the Habsburgs, Emperor Maximilian I transmitted to his heirs a practical attitude towards their art collections. Pearls and precious stones were extracted from set pieces to produce new ones; old-fashioned jewellery or silver objects were melted down; and tapestries, paintings and sculptures were publicly sold to pay off debts. By studying how some of these goods were reused, recycled, and recirculated among the Habsburg family members, I will explain how crown patrimony changed owners and kingdoms, and how the cult of their dynasty, actively promoted by Charles V, heightened the notion of a collective consciousness which served as a topos for aristocratic collecting in the Renaissance. Contents Introduction The Organization of Early Habsburg Inventories and the Hierarchy of Media Changing Taste and the Manipulation of the Object Charles V's Inventories and the Creation of an Empire Dynastic Marriages, Dynastic Inventories Introduction [1] The royal inventories of the Habsburgs are documents of extraordinary importance for the analysis of art collecting in the Modern Age. They are often the only available tools to interpret the value, arrangement, uses and original functions of the ever-changing princely possessions – today just partially preserved –, and provide us with references about the best European painters, sculptors, goldsmiths, weavers, or armourers of the time, to name but a few.
    [Show full text]