Search

This essay offers a general overview of some of the main artistic, liturgical and musical works inspired by the Capitulation of Granada in favor of the Catholic Monarchs and related to the patronage of Cardinal Pedro González de Mendoza, Cardinal Bernardino López de Carvajal, Archbishop Fray Hernando de Talavera and his circle. Particular attention is paid to the composition of the well-known Oficios de la Toma de Granada (Offices of the Capitulation of Granada). Granada is conceived therein as a New Jerusalem, the center of a mono-religious but multicultural providentialist discourse identified with the Crown of Castile. Such convergent discourses in music, liturgy and the arts, both at the peninsular and European levels, helped turn the nominatissima urbs Granate after the fall of the Nasrid Kingdom in 1492 into an enduring symbol of Hispanic culture. [ABSTRACT FROM AUTHOR]

This essay offers a general overview of some of the main artistic, liturgical and musical works inspired by the Capitulation of Granada in favor of the Catholic Monarchs and related to the patronage of Cardinal Pedro González de Mendoza, Cardinal Bernardino López de Carvajal, Archbishop Fray Hernando de Talavera and his circle. Particular attention is paid to the composition of the well-known Oficios de la Toma de Granada (Offices of the Capitulation of Granada). Granada is conceived therein as a New Jerusalem, the center of a mono-religious but multicultural providentialist discourse identified with the Crown of Castile. Such convergent discourses in music, liturgy and the arts, both at the peninsular and European levels, helped turn the nominatissima urbs Granate after the fall of the Nasrid Kingdom in 1492 into an enduring symbol of Hispanic culture.

In Sardinia many are the medieval fragments recovered in currently destroyed churches and frequently recognized as out of context. Therefore, specialists find it difficult to proper investigate artefacts such as the Greek-Sardinians epigraphs. Some of those report the men and women names who probably were part of the aristocratic families that ruled the island. Comparing Sardinian evidences with the ones found in south Italy could allegedly provide responses about this period. Moreover, it might be significantly effective in order to reveal all the connections between artistic patronage and women in Sardinia.

Copyright of Goya is the property of Fundacion Lazaro Galdiano and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article reconstructs for the first time the art collection and artistic influence of Cardinal Luis Fernandez de Portocarrero (1635-1709) in Italy. After arriving in Rome as Cardinal Protector in 1669, his greatest political achievements were to be the positions of interim viceroy in Sicily and special ambassador to the Holy See. On his return (1679), as archbishop of Toledo and member of the Council of State, he would be a key figure in the disputes over the succession of Charles 11. During his Italian decade he made an effort to adapt to the tastes and customs of the cardinals' families in Rome, trusting his image - and the decoration of Palazzo Cupis in Piazza Navona -- to the most outstanding artists of the Papal Court. He also used the public dimension of the arts to build himself a reputation among the Spanish community in Rome, especially during the Jubilee Year of 1675, and he was particularly skilled at linking the progressions of his career to events of political importance to the general interests of the Spanish Crown, perhaps already contemplating his move to the court in Madrid. [ABSTRACT FROM AUTHOR]