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Copyright of Ars Longa is the property of Ars Longa 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.)

En vísperas de la conmemoración de la revuelta o guerra de las Germanías (1519–22) y la de las Comunidades (1520–22) en España, contamos con sólidos estudios históricos, pero con escaso análisis sobre su incidencia en el plano artístico, que tuvo lugar en un momento de cambios culturales y estilísticos. En este sentido, estudiamos uno de los palacios más importantes de ese tiempo, el de los Centelles, condes de Oliva, en la sede de sus estados, provincia de Valencia. A través del desciframiento de la inscripción del salón señorial, bien conocido por su decoración a la antigua, la obra muestra la conexión con el erasmismo y el Humanismo europeo, como la obra de Sebastian Brant, Erasmo de Róterdam y Juan Luis Vives. Este hecho contribuye a precisar la disposición de la desmembrada sala, a estrechar más su cronología y a establecer una hipótesis sobre la intención histórica y moralizante de lo representado, que asociamos a las Germanías As we approach the commemoration of the Revolt of the Germanías (1519–22) and the Communities (1520–22) in Spain, we can find well-researched historical studies but very little analysis of the artistic impact of these events, which took place at a time of cultural and stylistic change. This article is a study of one of the most important palaces of the era, the palace of the Centelles family, the Counts of Oliva, in the province of Valencia. After deciphering the inscription in the great hall, well-known for its antique style decoration, this article reveals a connection with European Humanism and the literary production of Sebastian Brant, Erasmus, and Juan Luis Vives. This allows us to recreate more precisely the original arrangement of the hall, to narrow down the range of possible dates, and to establish a hypothesis regarding the image's historical and moralising intention, which is associated here with the Revolt of the Germanías. [ABSTRACT FROM AUTHOR]

En vísperas de la conmemoración de la revuelta o guerra de las Germanías (1519–22) y la de las Comunidades (1520–22) en España, contamos con sólidos estudios históricos, pero con escaso análisis sobre su incidencia en el plano artístico, que tuvo lugar en un momento de cambios culturales y estilísticos. En este sentido, estudiamos uno de los palacios más importantes de ese tiempo, el de los Centelles, condes de Oliva, en la sede de sus estados, provincia de Valencia. A través del desciframiento de la inscripción del salón señorial, bien conocido por su decoración a la antigua, la obra muestra la conexión con el erasmismo y el Humanismo europeo, como la obra de Sebastian Brant, Erasmo de Róterdam y Juan Luis Vives. Este hecho contribuye a precisar la disposición de la desmembrada sala, a estrechar más su cronología y a establecer una hipótesis sobre la intención histórica y moralizante de lo representado, que asociamos a las Germanías As we approach the commemoration of the Revolt of the Germanías (1519–22) and the Communities (1520–22) in Spain, we can find well-researched historical studies but very little analysis of the artistic impact of these events, which took place at a time of cultural and stylistic change. This article is a study of one of the most important palaces of the era, the palace of the Centelles family, the Counts of Oliva, in the province of Valencia. After deciphering the inscription in the great hall, well-known for its antique style decoration, this article reveals a connection with European Humanism and the literary production of Sebastian Brant, Erasmus, and Juan Luis Vives. This allows us to recreate more precisely the original arrangement of the hall, to narrow down the range of possible dates, and to establish a hypothesis regarding the image's historical and moralising intention, which is associated here with the Revolt of the Germanías. [ABSTRACT FROM AUTHOR]

Copyright of Anales de Historia del Arte is the property of Universidad Complutense de Madrid 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.)

Copyright of Ars Longa is the property of Ars Longa 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.)