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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.

Muchos fueron los indianos de origen vasco que, a lo largo del siglo XVIII, remitieron importantes mandas de plata labrada desde América a su tierra natal. Este artículo identifica la labor de patronazgo de don Manuel de Llantada Ibarra en su localidad natal de Zalla (Bizkaia), a partir de documentación inédita procedente del Archivo General de Indias y del Archivo José María Basagoiti, Colegio de San Ignacio de Loyola, Las Vizcaínas, de México D.F., aportando, además, nuevos datos para completar su biografía. Many were the Indians of Basque origin who, throughout the 18th century, sent important orders of silver carved from America to their native land. This article identifies the work of patronage of don Manuel de Llantada Ibarra in his hometown of Zalla (Bizkaia), from unpublished documentation from the General Archive of the Indies and from the José María Basagoiti Archive, San Ignacio de Loyola School, Las Vizcaínas, from Mexico City, providing as well new information to complete his biography. Muitos foram os índianos de origem basca que, ao longo do século XVIII, enviaram importantes remessas de prata trabalhada da América para sua terra natal. Este artigo identifica o trabalho de mecenato de dom Manuel de Llantada Ibarra em sua cidade natal de Zalla (Bizkaia), com base em documentação inédita do Archivo General de Indias e do Arquivo José María Basagoiti, Colegio de San Ignacio de Loyola, Las Vizcainas, de Cidade do México, também trazendo novas informações para completar sua biografia.

Gli arcivescovi di Palermo nel corso dei secoli hanno costantemente espresso un’aulica committenza di arte sacra, molto spesso particolarmente onerosa e prestigiosa per i materiali, i modelli e gli artefici scelti. Si tratta di suppellettili metalliche, manoscritti o libri a stampa su pergamena e carta, parati realizzati in tessuto operato o ricamato, plasticazioni in stucco e arredi sacri in pietre dure, dipinti, insegne vescovili in uso nella cappella privata o nella cattedrale. L'intervento si concentrerà solo sui presuli di origine spagnola, una ventina in tutto, nominati nei secoli in cui la Sicilia gravitava nella sfera di influenza spagnola (1282-1713). The archbishops of Palermo over the centuries have consistently expressed a courtly patronage of sacred art, very often particularly onerous and prestigious because of the materials, models and craftsmen chosen. These include metal furnishings, manuscripts or printed books on parchment and paper, wall hangings made of textured or embroidered fabric, stucco plastics and sacred furnishings made of semiprecious stones, paintings, and bishop's insignia in use in the private chapel or cathedral. The intervention will focus only on presuli of Spanish origin, about 20 in all, appointed in the centuries when Sicily gravitated to the Spanish sphere of influence (1282-1713).

This paper focuses on the analysis of the sculptural decoration of the Chilandar exonarthex which was executed in two stages: at the time of the construction and when the passages of the structure were closed. In the light of more recent research, it is hypothesized that the outer narthex was most likely closed under Despot Stefan Lazarević. The execution of most of the elements within the passages is, therefore, attributed to a workshop of Moravian artisans active in the first decades of the 15th century. It is argued that the entire project was carried out with reused elements, which were remodelled and decorated with new reliefs. In several cases, the employed artisans copied or mimicked the previous sculpture of the Chilandar katholikon, which confirms that the carvings were made on the site. У раду се представљају резултати најновијих истраживања скулпторске деко- рације хиландарског ексонартекса. Полази се од тезе да је скулптура спољне припрате настала током две радне фазе (у време подизања ексонартекса и током затварања пролаза у објекту) и истиче се да је у оба случаја приоритет у декорацији поклоњен северној страни грађевине. На основу подробне анализе рада уметника и иконографије приказаних мотива, предложена су нова датовања бројних елемената који су током обе радне фазе уграђени у објекат. Изведба парапетне плоче с приказима анђела, која је узидана у пиластар источног ступца на северној фасади, приписује се радионици клесара која је била ангажована на подизању ексонартекса. Такође, суседни парапет на западном ступцу северне фасаде датује се у XI век. Израда већине елемената с клесаном декорацијом која је накнадно угра- ђена у отворе спољне припрате, датује се у прве деценије XV века. Њих су, по свему судећи, произвела два или три главна скулптора пореклом из Моравске Србије, који су можда имали некакве везе с групом која је радила на Каленићу. Међутим, током рада у Хиландару, ови уметници нису имали на располагању одговарајући материјал, већ су користили елементе с неког срушеног објекта у манастиру или његовој околини. У њиховом раду се јасно може приметити да су у великој мери копирали или опонашали ста- рију декорацију хиландарске цркве и спољне припрате. Такав принцип рада уочљив је у изведби вертикалних фризева северног портала ексонартекса (копирање с парапетне плоче у северној певници цркве краља Милутина), на представама анђела на гредама прозора у северној бифори (копирање с плоче на источном ступцу северне фасаде ексонартекса), у декорацији централног дела западне плоче у јужној бифори (копирање с плоче на западном ступцу северне фасаде ексонартекса) и на главама створења на конзолома јужног портала (копирање с конзола које су произвели скулптори краља Милути- на). Ктитор радова на затварању припрате био је, највероватније, деспот Стефан Лазаревић, што се дâ наслутити на основу представа хералдичких симбола на парапетним плочама у бифорама објекта. Ови грбови указују на могућност да је затварање спољне припрате предузето у периоду након што је деспот Стефан постао члан витешког Реда змаја у децембру 1408. године и пре његове смрти, јула 1427. године.

Entre 1536 et 1563, Ippolito II d’Este passe quinze ans dans le royaume de France. Il joue un rôle d’intermédiaire entre l’Italie et la France, tant sur le plan politique que sur le plan culturel. Le cardinal de Ferrare, et certains Italiens de sa suite, entendent jouer sur le décalage culturel et artistique qu’ils pensent remarquer entre la cour de France et les cours italiennes. L’usage politique du mécénat artistique révèle la perception d’Ippolito II d’Este des Français, mais aussi sa conception du rôle d’un prélat issu d’une prestigieuse dynastie italienne. Or, avec les guerres de Religion, la magnificence du cardinal est tournée en dérision. Le mécénat artistique du prélat s’expose à un retournement politique dégradant son image. La vie d’Ippolito II d’Este offre ainsi la possibilité de connaître les discours d’Italiens sur les Français, et les discours que ces derniers sont en train d’élaborer sur le cardinal, au gré de leurs échanges. Tra il 1536 e il 1563, Ippolito II d’Este trascorre quindici anni nel regno di Francia svolgendovi un ruolo politico e culturale di mediatore tra Italia e Francia. Il cardinale di Ferrara, e alcuni italiani della sua corte, intendono giocare sul divario culturale e artistico che pensano di notare tra la corte di Francia e le corti italiane. L’uso politico del patrocinio artistico rivela la percezione di Ippolito II d’Este dei Francesi, ma anche la sua concezione del ruolo di un prelato di una prestigiosa dinastia italiana. Ora, con le guerre di religione francesi, la magnificenza del cardinale viene derisa. Il patrocinio artistico del prelato è esposto a un’inversione politica che degrada la sua immagine. La vita di Ippolito II d’Este offre quindi la possibilità di conoscere i discorsi degli Italiani sui Francesi, e quelli che questi ultimi stanno elaborando sul cardinale man mano che procedono i loro scambi. Between 1536 and 1563, Ippolito II d’Este spent fifteen years in the kingdom of France. He played the role of an intermediary between Italy and France on the political as well as the cultural level. The cardinal of Ferrara and some Italians in his retinue, intended to play on the cultural and artistic gap they thought they noticed between the French and Italian courts. The political use of artistic patronage reveals Ippolito II d’Este’s perception of French people, but also his conception of the role of a prelate from a prestigious Italian dynasty. Yet, with the French Wars of Religion, the magnificence of the cardinal was mocked. The prelate’s artistic patronage was exposed to a political reversal which degraded his image. Thus, Ippolito II d’Este’s life provides an opportunity to know the Italian discourses on French people, and the discourses that the latter are elaborating on the Cardinal, as their exchanges unfold.

El descubrimiento en el Archivo Histórico provincial de Cádiz de una copia del testamento de D. Tomás Gallo de Ruigallo, otorgado en Cartagena de Indias en 1722, junto a la escritura de fundación de una capellanía en la iglesia de San Mamés de Gallejones, su parroquia de bautismo, aportan nuevos e importantes datos de la labor de patronazgo artístico de este comerciante en su localidad de nacimiento. Como en otros casos conocidos, cierta remesa de plata remitida, junto a un extraordinario montante de dinero supusieron un cambio transcendental para esta pequeña iglesia del arzobispado de Burgos. The discovery of a copy of the testament of D. Tomás Gallo de Ruigallo at the Provincial Historical Archive of Cádiz, conferred in Cartagena de Indias in 1722, together with the founding document of a chaplaincy in the church of San Mamés de Gallejones, his parish of baptism, provide new and important data of the work of artistic patronage of this merchant in his town of birth. As in other known cases, a certain remittance of silver remitted, together with an extraordinary amount of money, meant a transcendental change for this small church of the archbishopric of Burgos. Área de Historia del Arte. Universidad Pablo de Olavide, Sevilla Versión del editor

El descubrimiento en el Archivo Histórico provincial de Cádiz de una copia del testamento de D. Tomás Gallo de Ruigallo, otorgado en Cartagena de Indias en 1722, junto a la escritura de fundación de una capellanía en la iglesia de San Mamés de Gallejones, su parroquia de bautismo, aportan nuevos e importantes datos de la labor de patronazgo artístico de este comerciante en su localidad de nacimiento. Como en otros casos conocidos, cierta remesa de plata remitida, junto a un extraordinario montante de dinero supusieron un cambio transcendental para esta pequeña iglesia del arzobispado de Burgos. The discovery of a copy of the testament of D. Tomás Gallo de Ruigallo at the Provincial Historical Archive of Cádiz, conferred in Cartagena de Indias in 1722, together with the founding document of a chaplaincy in the church of San Mamés de Gallejones, his parish of baptism, provide new and important data of the work of artistic patronage of this merchant in his town of birth. As in other known cases, a certain remittance of silver remitted, together with an extraordinary amount of money, meant a transcendental change for this small church of the archbishopric of Burgos.

El descubrimiento en el Archivo Histórico provincial de Cádiz de una copia del testamento de D. Tomás Gallo de Ruigallo, otorgado en Cartagena de Indias en 1722, junto a la escritura de fundación de una capellanía en la iglesia de San Mamés de Gallejones, su parroquia de bautismo, aportan nuevos e importantes datos de la labor de patronazgo artístico de este comerciante en su localidad de nacimiento. Como en otros casos conocidos, cierta remesa de plata remitida, junto a un extraordinario montante de dinero supusieron un cambio transcendental para esta pequeña iglesia del arzobispado de Burgos., The discovery of a copy of the testament of D. Tomás Gallo de Ruigallo at the Provincial Historical Archive of Cádiz, conferred in Cartagena de Indias in 1722, together with the founding document of a chaplaincy in the church of San Mamés de Gallejones, his parish of baptism, provide new and important data of the work of artistic patronage of this merchant in his town of birth. As in other known cases, a certain remittance of silver remitted, together with an extraordinary amount of money, meant a transcendental change for this small church of the archbishopric of Burgos., Área de Historia del Arte. Universidad Pablo de Olavide, Sevilla, Versión del editor

El descubrimiento en el Archivo Histórico provincial de Cádiz de una copia del testamento de D. Tomás Gallo de Ruigallo, otorgado en Cartagena de Indias en 1722, junto a la escritura de fundación de una capellanía en la iglesia de San Mamés de Gallejones, su parroquia de bautismo, aportan nuevos e importantes datos de la labor de patronazgo artístico de este comerciante en su localidad de nacimiento. Como en otros casos conocidos, cierta remesa de plata remitida, junto a un extraordinario montante de dinero supusieron un cambio transcendental para esta pequeña iglesia del arzobispado de Burgos. The discovery of a copy of the testament of D. Tomás Gallo de Ruigallo at the Provincial Historical Archive of Cádiz, conferred in Cartagena de Indias in 1722, together with the founding document of a chaplaincy in the church of San Mamés de Gallejones, his parish of baptism, provide new and important data of the work of artistic patronage of this merchant in his town of birth. As in other known cases, a certain remittance of silver remitted, together with an extraordinary amount of money, meant a transcendental change for this small church of the archbishopric of Burgos.

Margarita de Parma, hija ilegítima de Carlos V, fue, sin lugar a dudas, uno de los personajes históricos más interesantes y, a la vez, más olvidados del Renacimiento. En su faceta política, destacó por su manera tolerante y diplomática de gobernar los Países Bajos; en el ámbito cultural, por su notable papel como mecenas artística. Formada inicialmente en el gusto por el arte de su Flandes natal, su pertenencia primero a la familia Médici y luego a la Farnesio le abriría las puertas a los círculos artísticos del Cinquecento italiano, derivando en un patrocinio que oscilaría siempre entre ambos mundos. Este estudio constituye así una novedosa aproximación al contexto descrito, recuperando una figura que ha permanecido siempre en un segundo plano. Margaret of Parma, King Charles V’s illegitimate daughter, was one of the most interesting but forgotten figures of the Renaissance period. As a politician, she is remembered for her tolerant and diplomatic way to govern the Netherlands; and in the cultural sphere, for her significant role as an art patron. Educated first in the Flemish culture, her belonging first to the Medici and later to the Farnese allowed her to be part of the artistic circles of the Cinquecento. This is the reason why her patronage ranged always between the Flemish and the Italian arts. This paper is therefore an innovative approach to the context described, rescuing from oblivion this interesting figure.

El patrocinio artístico constituyó una de las muestras más relevantes de la sociedad colonial. La financiación de obras de arte tuvo varias finalidades que, en general, nada tuvieron que ver con el hecho artístico. La intención de la nobleza y del clero fue obtener prebendas de tipo civil o religioso a cambio de favorecer a la sociedad mediante la subvención de obras artísticas. Los caciques y la nobleza indígena jugaron un papel fundamental financiando obras artísticas, religiosas y civiles. En este sector social, las obras religiosas se consideraron una manifestación del fervor y devoción hacia la nueva religión mientras que las de carácter civil tuvieron como objetivo demostrar su adhesión a la corona española y a la administración colonial. Artistic patronage was one of the most important examples of colonial society. The financing of works of art had several purposes that, in general, had nothing to do with the artistic fact. The intention of the nobility and the clergy was to obtain benefits of civil or religious type in exchange for favoring society by subsidizing artistic works. The caciques and the indigenous nobility played a fundamental role in financing artistic, religious and civil works. In this social sector, the religious works were considered a manifestation of fervor and devotion to the new religion, while those of a civil nature were intended to demonstrate their adherence to the Spanish crown and the colonial administration.

Motivados por el esplendor económico y el auge de la industria textil en Puebla de los Ángeles (México) a finales del siglo XIX, una serie de familias de origen español ejercerán como mecenas de arte y protectores de diferentes artistas extranjeros. Los Quijano, una de esas familias, establecerán unos profundos lazos con el pintor sevillano José Arpa Perea, relación que llevará a este último a acompañarles en sus cambios de residencia y viajes a través de los Estados Unidos y España. Fruto de este mecenazgo se conformó una interesantísima colección pictórica, hoy día dispersa a través de América y Europa. Motivated by the economic brilliance and the textile industry ́s peak in Puebla de los Ángeles (Mexico) at the end of the 19th century, several families originally from Spain will become as art patrons and protectors of different foreign artists. The Quijanos, one of these families, will establish friendship ties with the Sevillian painter Jose Arpa Perea, which will lead the latter to accompanying them in their changes of residence and trips across the United States and Spain. As a result, an interesting pictorical collection was created which is currently disseminated across America and Europe.

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