Publication: El arco del Castelnuovo de Nápoles y su relación con la introducción del lenguaje renacentista en Castilla
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2015-04-07
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Universidad Complutense de Madrid
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Abstract
Indagación sobre la procedencia de los primeros modelos utilizados en Castilla que podemos denominar renacentistas, por qué vía llegaron y quién los trajo. La familia Mendoza, reputada por los historiadores del arte como introductora del Renacimiento en el reino castellano, utilizó una serie de modelos cuyo lugar de origen, significado y motivación de su uso, hemos intentado localizar analizando minuciosamente sus edificios. El viaje del segundo conde de Tendilla a Italia (1486-87) supuso el traslado a Castilla de los modelos utilizados por los Trastámara napolitanos, además de otros de la Roma contemporánea. Su consecuencia fue la utilización consistente de aquéllos por los Mendoza, frente a los tardogótico/flamencos preferidos por los Reyes Católicos y su entorno. La coincidencia de fechas entre las primeras obras Mendoza donde se utilizaron aquéllos modelos y el retorno del Conde a Castilla, en 1487, no es casual: es el fundamento de un comportamiento sistemático de utilización de elementos decorativo-constructivos por toda la familia como signo de distinción y autoafirmación. El remanente actual de tales cuadernos de modelos es el denominado Codex Escurialensis. En la primera parte del trabajo se analiza la trayectoria intelectual de Alfonso V el Magnánimo, plasmada en el Arco del Castelnuovo de Nápoles, estudiando sus contenidos iconográficos; éstos constituyen un despliegue de la incipiente mentalidad renacentista italiana, concretada en el uso de una serie de imágenes y símbolos que relacionan la Antigüedad clásica con la particular weltanschauung de su comitente, creando novedades iconográficas que influirán en obras italianas posteriores. La estrecha relación existente entre los Mendoza y los Trastámara aragoneses propició que los primeros adoptasen las formas artísticas de la Italia renacentista. La segunda parte analiza las relaciones del Marqués de Santillana con su amigo y señor, Alfonso de Trastámara y el mantenimiento de tales vínculos por la familia Mendoza, que culminan, para los efectos de la presente indagación, con la vuelta del conde de Tendilla a Castilla
Our work´s aim has been the research of the origins of the first Renaissance patterns used in Castile proceeding from the Quattrocento Italy: to establish the way of its arrival and discern who was its bearer. We have studied the models that the Mendoza family (reputed by many authors and researchers as the introducer of the Renaissance in Castile) used in its buildings, and located the place in Italy where they obtained them, its significance and the reasons owing to its use, minutely considering and comparing them with its originals in Italy; the issue of the close relationship between this castilian family and the Trastámara neapolitan dynasty, was the assumption by the Mendozas of the artistic forms of the Renaissance, and, more specifically, those used in the neapolitan Castelnuovo. The first part shows the upbringing and education of Alfonso Trastámara, the fifth of Aragon, portrayed in his renowned work: the Castelnuovo marble arch, analyzing its iconographic contents, where the incipient Italian renaissance mentality is displayed and summarized by the use of an ensemble of symbols and images relating the Classic Antiquity with his particular weltanschauung. Many of these images constitute an iconographic novelty that will influence many Italian works. The second part refers to the close relationship between the first Marquis of Santillana with his friend and lord, Alfonso of Aragon, and its continuance by the Mendozas. The spanish art will benefit from this relationship whose culmination was the italian journey of the second earl of Tendilla, bearer, in his return to Castile, of the artistic models used by the Neapolitan Trastámaras (and many others that he could look at during his stay in Rome 1486-1487): its issue was the consistent use by his family of said models, in order to differentiate its own works from the Late-gothic/Flemish patterns that were of current usage in the court of the Catholic Monarchs. The remaining part of the models brought to Castile by Tendilla is the manuscript known as Codex Escurialensis.
Our work´s aim has been the research of the origins of the first Renaissance patterns used in Castile proceeding from the Quattrocento Italy: to establish the way of its arrival and discern who was its bearer. We have studied the models that the Mendoza family (reputed by many authors and researchers as the introducer of the Renaissance in Castile) used in its buildings, and located the place in Italy where they obtained them, its significance and the reasons owing to its use, minutely considering and comparing them with its originals in Italy; the issue of the close relationship between this castilian family and the Trastámara neapolitan dynasty, was the assumption by the Mendozas of the artistic forms of the Renaissance, and, more specifically, those used in the neapolitan Castelnuovo. The first part shows the upbringing and education of Alfonso Trastámara, the fifth of Aragon, portrayed in his renowned work: the Castelnuovo marble arch, analyzing its iconographic contents, where the incipient Italian renaissance mentality is displayed and summarized by the use of an ensemble of symbols and images relating the Classic Antiquity with his particular weltanschauung. Many of these images constitute an iconographic novelty that will influence many Italian works. The second part refers to the close relationship between the first Marquis of Santillana with his friend and lord, Alfonso of Aragon, and its continuance by the Mendozas. The spanish art will benefit from this relationship whose culmination was the italian journey of the second earl of Tendilla, bearer, in his return to Castile, of the artistic models used by the Neapolitan Trastámaras (and many others that he could look at during his stay in Rome 1486-1487): its issue was the consistent use by his family of said models, in order to differentiate its own works from the Late-gothic/Flemish patterns that were of current usage in the court of the Catholic Monarchs. The remaining part of the models brought to Castile by Tendilla is the manuscript known as Codex Escurialensis.
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Geografía e Historia, Departamento de Historia del Arte II (Moderno), leída el 18-06-2014