La Imago Pietatis de Santa Croce in Gerusalemme, el Papa Gregorio Magno y España. In Stefania Pastore and Mercedes García-Arenal (Eds.), Visiones imperiales y profecía. Roma, España, Nuevo Mundo. Madrid: Abada editores. , 2018
El icono en micromosaico que representa a Cristo de medio busto con la cabeza inclinada hacia un ... more El icono en micromosaico que representa a Cristo de medio busto con la cabeza inclinada hacia un lado, los brazos doblados y las manos cruzadas a la altura de las muñecas para mostrar los estigmas, ocupa unlugar prominente en la historia del arte cristiano devocional. Conocido como la imago pietatis, se piensa que este íntimo trabajo de pequeñas dimensiones, tal vez de origen bizantino y realizado en torno a 1300, fue llevado a Italia hacia finales del siglo XIV, momento en el que se le añade un marco de plata con cuatro blasones en los ángulos y es montado en la parte central de un tríptico plegable con filas y filas de reliquias que mide casi un metro de alto y otro de largo cuando tiene las hojas abiertas. En 1967 Carlo Bertelli inauguró el debate histórico sobre la obra, y desde entonces el lugar y la fecha de origen del mosaico, su patrocinio y su función han llamado la atención de los historiadores del arte. La preocupación por la tipología de la imagen y su uso devocional han dominado la discusión. Un interés duradero por la asociación del icono con la iconografía del Vir dolorum, Varón de dolores, y sobre todo su legendaria identificación con la imagen que el papa Gregorio Magno creó para recordar la visión que tuvo de Cristo durante la celebración de la misa, ha focalizado los estudios hacia el aspecto devocional. El objetivo de la presente contribución es valorar el significado político que debió de tener el tríptico en torno a 1500, cuando fue absorbido por el programa coordinado que Bernardino López de Carvajal desarrolló para festejar a los Reyes Católicos en Roma.
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Chapter Three, "Bramante's Christian Temple," demonstrates how the Tempietto, in its centralized plan, peripteral colonnade, dome raised upon a drum, and projected hypaethral rotunda, fuses elements of sacred architecture drawn from ancient and Christian traditions to achieve a revolutionary synthesis simultaneously fully classical and fully Christian. Bramante’s combination of those architectural traditions was inspired by two principal factors: the translation of the Apostolic Church from Jerusalem to Rome achieved with Peter’s sacrifice and the roots of his royal patrons’ power traced through Spain’s Roman imperial heritage. The dream of Catholic hegemony that provided the underpinning of Ferdinand and Isabel’s political program received physical expression on the very spot where Peter was martyred and the Roman Church was founded.
Chapter Four, "Symbols of Victory," focuses on the key features of the architecture as interlocking components of a coherent iconographic program: With the granite columns, Tuscan-Doric detailing, and decoration of the metopes, Bramante absorbed elements of classical architecture, referring to the early Church, to martyrdom, and to Rome’s ancient destiny traced to the Holy Land through the Etruscan legacy. The shells and balusters, potent religious and political symbols, complemented those ideas holding special meaning for Spain and its monarchs. Finally, the geometric design of the chapel’s pavement reinforced the cosmological resonance of the circular plan and honored the site where Peter died for his faith, drawing equivalence between the city of Rome and Jerusalem. In all these ways Bramante fortified the cultural, geographical, and ultimately political meanings of the Tempietto’s architecture to project the idea of Christian victory under the aegis of Spain.
In 1967 Carlo Bertelli inaugurated historical analysis of the triptych, and ever since, questions concerning the mosaic’s place of origin, date, and patronage have attracted the attention of art historians. An enduring interest in the association of the icon with the theme of the Man of Sorrows, and above all with its legendary identification as the image Pope Gregory the Great had created to memorialize the vision of Christ he experienced while celebrating the Mass, have directed scholarly attention toward devotional concerns. The present essay, instead, focuses on the afterlife of the triptych and, particularly, on the political significance that this object held around the year 1500, when it was drawn into a coordinated program to honor the achievements of Ferdinand of Aragón and Isabel of Castile in the international ambience of papal Rome.
Chapter Three, "Bramante's Christian Temple," demonstrates how the Tempietto, in its centralized plan, peripteral colonnade, dome raised upon a drum, and projected hypaethral rotunda, fuses elements of sacred architecture drawn from ancient and Christian traditions to achieve a revolutionary synthesis simultaneously fully classical and fully Christian. Bramante’s combination of those architectural traditions was inspired by two principal factors: the translation of the Apostolic Church from Jerusalem to Rome achieved with Peter’s sacrifice and the roots of his royal patrons’ power traced through Spain’s Roman imperial heritage. The dream of Catholic hegemony that provided the underpinning of Ferdinand and Isabel’s political program received physical expression on the very spot where Peter was martyred and the Roman Church was founded.
Chapter Four, "Symbols of Victory," focuses on the key features of the architecture as interlocking components of a coherent iconographic program: With the granite columns, Tuscan-Doric detailing, and decoration of the metopes, Bramante absorbed elements of classical architecture, referring to the early Church, to martyrdom, and to Rome’s ancient destiny traced to the Holy Land through the Etruscan legacy. The shells and balusters, potent religious and political symbols, complemented those ideas holding special meaning for Spain and its monarchs. Finally, the geometric design of the chapel’s pavement reinforced the cosmological resonance of the circular plan and honored the site where Peter died for his faith, drawing equivalence between the city of Rome and Jerusalem. In all these ways Bramante fortified the cultural, geographical, and ultimately political meanings of the Tempietto’s architecture to project the idea of Christian victory under the aegis of Spain.
In 1967 Carlo Bertelli inaugurated historical analysis of the triptych, and ever since, questions concerning the mosaic’s place of origin, date, and patronage have attracted the attention of art historians. An enduring interest in the association of the icon with the theme of the Man of Sorrows, and above all with its legendary identification as the image Pope Gregory the Great had created to memorialize the vision of Christ he experienced while celebrating the Mass, have directed scholarly attention toward devotional concerns. The present essay, instead, focuses on the afterlife of the triptych and, particularly, on the political significance that this object held around the year 1500, when it was drawn into a coordinated program to honor the achievements of Ferdinand of Aragón and Isabel of Castile in the international ambience of papal Rome.