Funerary Chapels

This series serves as a revisionist history of the arts produced in Italy during the early modern period, from 1300 to 1600. Each volume will focus on an important center where the arts flourished during these centuries. Examining artworks within their social, religious, and cultural contexts, volumes will analyze all media -painting, sculpture, architecture, and the decorative artsand will determine how, during the fifteenth century, humanist ideas and classical models were integrated with long-standing artistic traditions. For the sixteenth century, they will establish secular and religious patterns of patronage, the development of theory, the crisis of the Reformation and its effect on the arts, and the profound changes in the arts that resulted from the new norms created by the Council of Trent. Richly illustrated, volumes in this series will provide an up-to-date and comprehensive overview of Italian art at a pivotal moment in its history

"This paper proposes three new (and tentatively, another two) identifications of sundials in Middle Eastern mosaics of the 5th – 8th century. The author discusses a vignette from the Holy Martyrs’ Church at Tayibat al-Imâm, central Syria, a mosaic panel from the tomb of Georgia and Theodosia in Jerusalem, two
vignettes of Sebastis and Kastron Mefaa from the St. Stephan’s Church at Umm al-Rasas, and a vignette of Jerusalem from the St. George’s Church at Madaba. These mosaics date, respectively, to 442, to the reign of Justinian (527 –565), and to the Byzantine Umayyad era (718). According to the author, these are probably the latest representations of sundials known to date from the Late Antiquity. Until this study, only six representations of sundials on mosaics from the Roman period were known. This paper adds three new items and two hypothetical ones from Byzantine times. It also offers an interpretation of the function of the famous column in Jerusalem, shown on the map of Madaba and the mega-vignette of the Holy City.
Key words: Sundials, Sonnenhuhren, Meridiane, Cadrans solaires, Relojes de sol."

La presente tesis pretende abordar el estudio de la Capilla Real de la Corte, las capellanías reales de salud, y las capellanías y capillas reales funerarias (capilla real de Sevilla, capilla de Reyes Viejos de la catedral de Toledo, capilla real de Córdoba, capilla del rey don Pedro del convento de Santo Domingo el Real de Madrid, capilla de Reyes Nuevos y de doña Catalina de Lancaster de la catedral de Toledo, capellanías de Enrique IV en Guadalupe, y fundación de la capilla real de Granada) e ntre los reinados de Alfonso X (1252-1284) e Isabel I (1474-1504), desde un punto de vista material (tesoro sagrado, panteones y sepulcros reales), con especial atención a los aspectos iconográficos, e institucional (capellanías y otros cargos eclesi ásticos en estrecha relación con las capillas reales: limosneros, predicadores y confesores), protagonistas de las estrategias de representación del poder real en el contexto de surgimiento del Estado Moderno.

El presente artículo analiza un elenco de obras artísticas -capillas funerarias, espacios palatinos, objetos litúrgicos y libros miniados- realizadas durante el siglo XV bajo el patrocinio de maestres y comendadores pertenecientes a las Órdenes de Calatrava y Santiago. El estudio de las mismas permite apreciar cómo estas dignidades, vinculadas a instituciones religiosas y militares, manifestaron unas idénticas preocupaciones artísticas a las de la aristocracia laica del momento.

L'any 1452 s'inaugurava la capella de l'hort de la Llotja dels mercaders de Barce lona amb gran solemnitat. Per tal que fos una ocasió lluïda, es va llogar el mestre de cant de la catedral i els seus deixebles, i també fra Gregori -conventual del monestir de Sant Agustí-, que va fer sonar els orgues. A més a més, es varen tirar bombardes o trons amb pólvora, i les persones notables que hi van assistir foren obsequiades amb ramellets. 1 Malgrat l'alegria amb què es va celebrar l'estrena, poques generacions de mer caders van poder gaudir de la capella. Els documents ens diuen que fou ender rocada tan sols un segle més tard per tal de donar cabuda a una galeria, 2 i no en coneixem representacions gràfiques ni descripcions. Ara per ara, només ens queda la documentació, que ens permet identificar alguns dels artífexs que hi van treba llar, els materials constructius emprats i els recursos decoratius que l'ennoblien. 3

La Capilla de las Reliquias de la catedral de Santiago, situada en la crujía norte el claustro acoge desde 1535 los sarcófagos que componen el conocido como panteón regio de la catedral  compostelana. Allí fueron trasladados cinco sarcófagos que los historiadores atribuyeron a Raimundo de Borgoña (†1107), doña Berenguela (†1149), Fernando II (†1188), Alfonso IX (†1230) y doña Juana de Castro (†1374). Antes de ubicarse en la capilla de las reliquias, estos sarcófagos estuvieron colocados, según las fuentes documentales, en la actual capilla de Santa Catalina, en el brazo norte del crucero un espacio que en las anotaciones del Tumbo A se denomina capella dos reis.

The Capilla de las Reliquias in the cathedral of Santiago de Compostela, located in the northern gallery of the cloister, guard since 1535 five sarcophagus that were supposed to contain the rests of the royal leonese family: Raimundo de Borgoña (†1107),
doña Berenguela (†1149), Fernando II (†1188), Alfonso IX (†1230) and doña Juana de Castro (†1374). Before they were transferred to their current location, they had been placed, according to medieval documents, in the Northern transept of the Cathedral; a chapel that was removed during the baroque reform and nowadays called Capilla de Santa Catalina.

Working in Genoa, the Ticinese sculptor Taddeo Carlone
(1543-1615) recurrently adopted Tuscan statuary models. While
in the first half of the sixteenth century Genoa had been enriched
by the works of artists such as Andrea Sansovino and Giovanni
Angelo Montorsoli, Taddeo’s period of activity saw the presence
of Giambologna and especially Pietro Francavilla. As has been
recognised, such artists were summoned from Grand Ducal Florence
partly because of the commission of bronze statues for the
Grimaldi chapel in the now destroyed church of San Francesco
di Castelletto. Giambologna was present in Genoa only in 1579,
whereas Pietro Francavilla returned several times working with
Taddeo Carlone for the Senarega chapel in the Cathedral of San
Lorenzo. The discovery of new documents referring to this funerary
chapel, including the drawing for the project, offers an
occasion to clarify the role played by Taddeo in the construction
and decoration of the chapel. The author is thus able to identify
the extent of Pietro Francavilla’s influence on the sculptural and
architectural oeuvre of Taddeo Carlone.

The chapel of St Peter and Paul in Zagreb`s central cemetery Mirogoj belongs to a group of the most interesting sacral buildings erected in Croatia`s capital at the end of the 19th century. It is one of the first monumental mausoleums ever built outside the Mirogoj`s arcades and one of the fi nest works by the architect Herman Bollé in his version of the neo-Byzantine style. It was erected in 1891 to serve as lieutenant general Petar Kukulj`s mausoleum by his widow Judita. Petar Kukulj was an Austro Hungarian field-marshal. Since such mausoleums were used by a small number of worshippers, there was no need to make them large. Moreover, the locations where they were going to be built were often very limited in order to leave more space for the cemetery. Therefore, during historicism such cemetery chapels were often erected as centrally planned buildings whether the mausoleums in question were Catholic, Orthodox, Evangelical or Jewish. Hence, Bollé was provided with an opportunity to practice designing centrally planned neo-Byzantine buildings. Since he had been working for the Orthodox Church he was mostly compelled to restore earlier buildings and build new ones of a longitudinal plan which could facilitate a greater number of believers. On those churches he hadn’t had a chance to build domes. The chapel of St Peter and Paul at Mirogoj cemetery is one of the Bollé`s most signifi cant neo-Byzantine centrally planned domed buildings. Looking at his work, we can see that Bollé`s neo-Byzantine style is infl uenced by Byzantine, Romanesque and even Renaissance elements. He also found a great inspiration in late Rundbogenstil (Round-arch style) of Berlin architecture of the 1860s and 1870s. Orthodox bishop Miron Nikolić commended his work in the chapel and it seems that it had convinced him to entrust Bollé with a comprehensive renovation work on his cathedral in Pakrac, as well as some other buildings in Pakrac eparchy (parish church in Bjelovar for example). Thanks to his work on Kukulj chapel and renovation work on parish church of Transfi guration in Zagreb, Bolle was later commissioned to renovate the Orthodox monastery Grgeteg on Fruška Gora, and the Church of Holy Spirit, Ruma, and so on. Immediately after the work in the chapel of St Peter and Paul was fi nished, the walls were painted and the interior was furnished. Zagreb Crafts School professor Josip Bauer is the author of all decorations on the walls and icons on the iconostasis. All the icons were made on a gold background showing Bauer`s relation to the Byzantine art of drawing. The author attended the Academy in Munich. Therefore, compositions of his works are inherently in correlation with the tradition of western painting but there is also a very strong infl uence of the Nazarenes. Bauer was obviously familiar with the orthodox iconography which resulted in numerous commissions by the Orthodox Church in Croatia. The position of icons on the iconostasis follows the usual rules of the Orthodox Church, but still there are some differences. In the bottom line we can see Annunciation in imperial court with icons of enthroned Christ and Virgin by its side. On the side doors we can see Michael the Archangel and Gabriel the Archangel. Saint Peter and Paul, to whom the chapel is dedicated, are painted on the left end of the row and Saint John the Baptist is on the right end. Two central rows of icons on the iconostasis depict the scenes from the life of Christ and Virgin Mary. The top of the iconostasis shows the prophets painted in round medallions and in the central axis we see the crucifixion of the Christ flanked by the Virgin Mary and Saint John the Baptist) painted above the icons showing the Holy Trinity and God the Father. Herman Bolle is the author of the design for the iconostasis as well as the entire chapel project. The estimated cost of the chapel was 14.000 forints (28.000 krones) which was a substantial amount in that time.

The article stems from the examination of a letter belonging to the correspondence, today preserved at the Archives diplomatiques du Ministère des Affaires étrangères in Paris-La Courneuve, between Cardinal Jules Mazarin and Elpidio Benedetti, his agent in Rome. In the letter, dated August 1660, Benedetti refers to the Filomarino altar in the church of the Holy Apostles of Naples, indicating Gian Lorenzo Bernini as its author instead of Francesco Borromini. This significant document is not unpublished; however, it appeared in a mere footnote in a volume of historical studies on Mazarin, published in 1981. It therefore went almost unnoticed, and art and architecture historians have never taken it into consideration. In this article, Aloisio Antinori discusses the credibility and the various implications of the surprising attribution of Benedetti, who certainly witnessed the process during which the altar was designed in Rome to be then constructed in Naples, and perhaps took part in it directly as a collaborator of Ascanio Filomarino. The interpretation of the document also offers the author the opportunity to re-examine, through a study of all the available sources, the question of the end of the professional collaboration between Bernini and Borromini, an event that has never been entirely clarified.

The late Antique mosaic of Orpheus decorated a small room, approximately 18 m2 in area, connected with two even smaller ones, in 4 m2 and the other 2 m2 in area, belonging most likely to a small funerary chapel (or tomb) discovered in the ancient necropolis by the Damascene Gate in Jerusalem; it was discovered in 1901 by H. Vincent.
The author proposes a new interpretation of the iconographic program of the Orpheus myth used by wealthy Christians in a sepulchral context (see Olszewski M.T. «Orphée endeuillé de la mosaïque funéraire de Jérusalem», in Rey Mimoso-Ruiz, B. ed., Actes du colloque «Orphée entre Soleil et ombre», à l’Institut Catholique de Toulouse du 16 au 17 novembre 2007, Inter Lignes, numéros spécial – mars 2008, pp. 205-214, 226). He also proposes a new interpretation of the role Orpheus played in Roman funerary art, concentrating on the importance of the play on words and the visual and textual punning that was popular in ancient art and especially in funerary art. He rejects the popular interpretation of Orpheus as Christ in the Roman catacombs and proposes to interpret the image as that of Orpheus, bard of the departed souls, without any ahistorical connection with Christ. The program of the mosaic from Jerusalem is thus explained as a play on the words Orpheus-orphanos and Chiron (Chi-Rho) and Pan [Παν(τοκράτωρ)].The frequently used Christian funerary formula of resting in peace, Christ or the Lord corresponds
perfectly with the mood created around the mythical bard.
Orpheus’ universal role as singer and musician moving even the most stony of hearts, extolling the beloved departed, is absolutely justified in the context of a 6th-century Christian tomb. Orpheus is a popular and neutral figure, meaning that in effect it does not constitute a threat to Christian theology and can be tolerated by the educated Christians of Jerusalem.

This paper will highlight the importance and the impact of the personality of Frederick II in the Hispanic
Kingdoms, not just to his contemporaries but also to later monarchs, becoming an icon of power and Empire
concept.
We will analyze the design of the Royal Chapel inside Palermo’s Cathedral, pointing out the relationships with
other important Spanish funeral chapels that were influenced by the Sicilian pattern. This is the case of the Royal
Chapel inside the Cathedral of Seville, promoted by Alfonso X the Wise, where is the tomb of Beatrice of Swabia,
Frederick’s cousin and main argument for Alfonso’s imperial candidacy between 1256 and 1275.
Finally we will see how the emulation of this emperor, known as Stupor Mundi, through his tomb lived on, appearing
one more time in the project of moving these Sicilian tombs to the Monastery of San Lorenzo de El Escorial,
promoted by Philip II, in 1577.

WARSAW AND ŁOWICZ. TWO COLLEGIATE CHAPELS OF CHRIST CRUCIFIED IN THE EIGHTEENTH CENTURY
In the collegiate churches in Warsaw and Łowicz (two particularly important residential cities of the Republic of Poland in the modern era), in the 18th century, chapels were erected for the exhibition of late Gothic crucifixes, famous for their graces. The chapels were distinguished by remarkable architectural forms and innovative artistic programs. Both were built on the extensions of the northern aisles and were under the care of chapters, although their creation was financed from funds provided by powerful patrons. In the case of Łowicz, the construction was the fulfillment of the volition expressed in the will of Primate Adam Ignacy Komorowski, who assigned this part of the temple for his mausoleum. In Warsaw, the the right to patronage was passed on to successive families - the patronage was granted to the Szembek and Branicki families, among others. The features connecting both investments were also: the connections of both collegiate chapters and the special status of said churches, associated with the most important people in the Republic of Poland - the king (and, in a broader sense, the Seym and court circles) and the primate, i.e. the interrex. Although the chapels' architecture was developed almost half a century apart, one can see the mutual dependence of the forms used. The interiors boast even more analogies because the Warsaw chapel, built in the second decade of the 18th century, was transformed at the initiative of Jan Klemens Branicki in the early 1860s - while the mausoleum in Łowicz was being built. Probably both buildings employed the workshop of the Warsaw architect Jakub Fontana. In both chapels, influences of palace architecture are visible, manifested in the lightness of forms, rococo style and colors based on combining white with gold. The connection to residential interiors was enhanced especially by crimson wall coverings introduced by Fontana in the present St. John cathedral. The presented analysis, based on archival queries and in situ observations, made it possible to clarify the findings so far, as well as to show the construction process and transformations of the discussed objects. A look at their architectural form and decor details made it possible to identify sources of inspiration, probable contractors and to confirm the relationship between two particularly important examples of 18th-century collegiate chapels.

El estudio de las capillas y capellanías reales se centra en el análisis de las relaciones entre la Capilla Palacio y las capillas reales catedralicias/monásticas desde un punto de vista institucional, ideológico y funcional, en llevar a cabo una sistematización de éstas y ofrecer algunas notas generales sobre sus características, modelos ideales y evolución en la Castilla bajomedieval (siglos XIII-XV).

El presente artículo abarca el estudio documental e histórico artístico de una de las capillas de la iglesia románica de Santa María la Real de Sangüesa que fue erigida a fines del primer tercio del siglo XVI por el noble don Martín de Esquiva como capilla de patronato con fines funerarios. De su construcción se encargaron los maestros guipuzcoanos Pedro de Goroa y Juan de Ulamberrio. El aspecto que presenta en la actualidad se corresponde con la intervención acometida en la misma a finales del siglo XVIII por don José Javier Rodríguez de Arellano, arzobispo de Burgos, quien la dotó espléndidamente. El trabajo también aborda las otras capillas de patronato con que contaba el templo y su ubicación en la iglesia de acuerdo a dos trazas del siglo XVII conservadas en el Archivo Diocesano de Pamplona.

WARSAW AND ŁOWICZ. TWO COLLEGIATE CHAPELS OF CHRIST CRUCIFIED IN THE EIGHTEENTH CENTURY In the collegiate churches in Warsaw and Łowicz (two particularly important residential cities of the Republic of Poland in the modern era), in the 18th century, chapels were erected for the exhibition of late Gothic crucifixes, famous for their graces. The chapels were distinguished by remarkable architectural forms and innovative artistic programs. Both were built on the extensions of the northern aisles and were under the care of chapters, although their creation was financed from funds provided by powerful patrons. In the case of Łowicz, the construction was the fulfillment of the volition expressed in the will of Primate Adam Ignacy Komorowski, who assigned this part of the temple for his mausoleum. In Warsaw, the the right to patronage was passed on to successive families - the patronage was granted to the Szembek and Branicki families, among others. The features connecting both investments...

Artículo complementario al trabajo publicado en Archivo Español de arte (El conde de Oñate y la remodelación de la capilla de Santiago en la colegiata de San Hipólito de Córdoba) junto a Manuel García Luque el Año 2020 en el Tomo 93, Número 370. Las fotografías que aparecen en ambos son muy parecidas.

Pietas Austriaca at the Lisbon Court

The Monumental Chapel and Funerary Tombs built by Catherine of Austria in the San Jerónimos Complex in Belém

According to Vasari, the queen of Portugal., Catherine of Austria, had originally commissioned in 1565 an altarpiece from the renowned Venetian painter, Titian, for this royal chapel which never reached Portugal. This paper investigates the entire history of this monumental chapel in Belém.

The subject of the present study is the recovery of a forgotten monument through its restoration and its introduction in the touristic circuit. The roman-catholic chapel Ştirbei, also known as general Ion Florescu’ chapel, was a part of the Ştirbei domain, now separated from this. As a different monument, the chapel was affected by numerous destructions, its present condition imposing an immediate intervention. Our goal is to signalize this situation, to describe the problems encountered and to make some recommendations to the authorities which manage the building.

Dwie kaplice wzniesione przy kolegiatach w Warszawie i w Łowiczu, mieszczące słynące łaskami krucyfiksy, wykazują liczne analogie, do których należą: lokalizacja na przedłużeniu północnych naw, powiązania obu kapituł kolegiackich oraz szczególny status świątyń kojarzonych z najważniejszymi osobami w Rzeczypospolitej – królem (a także, w szerszym ujęciu, Sejmem i kręgiem dworskim) oraz prymasem, czyli interrexem. Mimo że powstanie architektury kaplic dzieliło blisko pół wieku, dostrzec można wzajemne zależności zastosowanych form. Wnętrza posiadają tym więcej analogii, że kaplicę warszawską przekształcono z inicjatywy Jana Klemensa Branickiego w na początku lat 60. XVIII wieku – gdy powstawało mauzoleum w Łowiczu. Zaprezentowania analiza, oparta na kwerendach archiwalnych i obserwacjach in situ, pozwoliła na doprecyzowanie dotychczasowych ustaleń, ukazanie procesu budowy oraz przekształceń omawianych obiektów, a także poświadczenie zależności artystycznych pomiędzy kaplicami.

On his death, in 1498, Cardinal Pedro González de Mendoza, Archbishop of Toledo, had left instructions and resources for the execution of his funerary monument in the Primatial See. Although the ensemble was not initiated until after his death, the detailed directions stipulated in his will and testament were followed for the construction of a monumental tomb, located on one of the sides of the presbytery. It would be completed on its back with the so called Altar de la Santa Cruz, known generally as de Santa Elena. The whole ensemble is generated as a chapel open on the northern side of the ambulatory.
The main objective of the present paper is to show how this work materialized the cardinal’s will in relation to the celebration of the habitual religious services for his soul and the preservation of his memory in the Toledan cathedral, from a triple perspective: (1) the study of the work itself in its various components, (2) the provision of the necessary resources –vestments, ornaments, and personnel– for the development of the appropriate funerary liturgy, and (3) its importance in the spatial configuration of this part of the temple.

This paper aims to examine the relationship between bishop don Juan del Campo and Alfonso XI. After assuming the bishopric in 1332, don Juan del Campo established a series of prayers and processions for the king and his mistress doña Leonor de Guzmán, and also for their children. Besides, the construction of his private funerary chapel between the cloister and the North nave of the temple, can be understood as a political statement beyond its devotional and practical use.

Dwie kaplice wzniesione przy kolegiatach w Warszawie i w Łowiczu, mieszczące słynące łaskami krucyfiksy, wykazują liczne analogie, do których należą: lokalizacja na przedłużeniu północnych naw, powiązania obu kapituł kolegiackich oraz szczególny status świątyń kojarzonych z najważniejszymi osobami w Rzeczypospolitej – królem (a także, w szerszym ujęciu, Sejmem i kręgiem dworskim) oraz prymasem, czyli interrexem. Mimo że powstanie architektury kaplic dzieliło blisko pół wieku, dostrzec można wzajemne zależności zastosowanych form. Wnętrza posiadają tym więcej analogii, że kaplicę warszawską przekształcono z inicjatywy Jana Klemensa Branickiego w na początku lat 60. XVIII wieku – gdy powstawało mauzoleum w Łowiczu. Zaprezentowania analiza, oparta na kwerendach archiwalnych i obserwacjach in situ, pozwoliła na doprecyzowanie dotychczasowych ustaleń, ukazanie procesu budowy oraz przekształceń omawianych obiektów, a także poświadczenie zależności artystycznych pomiędzy kaplicami.

Bishop don Juan del Campo passed away on May 24th 1344. Few years earlier he had founded a burial chapel in the northern nave of León cathedral for him and his relatives: this space, between the cloister and the cathedral northern wall, was consecrated under the patronage of Saint Hipolytus, the Roman martyr whose feast was celebrated on August 13, the day King Alfonso XI was born. The Bishop’s devotional preference for his funerary chapel and his political career show the link with the monarchy and how this powerful man tried to tighten his relationship with King Alfonso. His patronage can be seen also in the recently built cloister, where a corbel depicts the Bishop and the King along with a female figure that has been identified with Alfonso’s mistress, doña Leonor de Guzmán. The lack of reluctance regarding the fact that Alfonso was married shows how permissive the prelate’s approach was to the King, but also assessed the interests of don Juan del Campo and the Leonese see, who benefitted from doña Lonor’s donations in the later years.