By Bramante, Donato; Aragonien König Ferdinand II; Freiberg, Jack; Kastilien Königin Isabella I; the Apostle Saint Peter, the Apostle Saint. Peter, (the Apostle Saint). Peter
The Tempietto, the embodiment of the Renaissance mastery of classical structure and its Christian reinvention, used to be additionally the preeminent fee of the Catholic kings, Ferdinand of Aragon and Isabel of Castile, in papal Rome. This groundbreaking e-book situates Bramante's widespread memorial devoted to Saint Peter and the origins of the Roman Catholic Church on the heart of a coordinated application of the humanities exalting Spain's management within the quest for Christian hegemony. The ideas in shape and iconography that made the Tempietto an authoritative version for Western structure have been fortified in legacy monuments created via the popes in Rome and the kings in Spain from the later Renaissance to the current day. New pictures expressly taken for this learn trap complete perspectives and targeted information of this exemplar of Renaissance paintings and statecraft
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Extra info for Bramante's Tempietto, the Roman Renaissance, and the Spanish crown
13 The tradition linking Santa Croce to Jerusalem was confirmed in 1492 when the relic of the superscription of the Cross came to light. 16 The location of this relic was well known, but its discovery elicited great excitement. 18 As the cardinals looked on, Innocent handled the relic and ordered that it be protected under glass and displayed on the altar during the principal feasts celebrated in the church. 20 That felicitous conjunction lent divine approbation to the military victory and confirmed Spain’s providential role in Christian history.
The altar appears as a columned aedicula adorned with paintings of the Crucifixion and Entombment, reflecting the chapel’s identification with the place of Christ’s death and burial in Jerusalem. Additional decoration appears in the area to the left of the oculus, suggesting an expanded narrative Figure 10. Altar wall, chapel of Saint Helen, Santa Croce in Gerusalemme, drawing, ca. 1500. Galleria degli Uffizi, Gabinetto Disegni e Stampe, Florence, Uffizi 4000A. E e per il Polo Museale della città di Firenze – Gabinetto Fotografico.
47 He referred to Santa Croce in Gerusalemme, the Passion relics, and the auspicious discovery of the titulus Crucis on the day news of the Granada victory arrived in Rome. Themes addressed by the decoration of Santa 20 • Bramante’s Tempietto, the Roman Renaissance, and the Spanish Crown Croce appeared as well: the conversion of Judas-Cyriacus to Christianity, the feast of the Triunfo de la Santa Cruz, and Heraclius’s victory over Chosröes. Carvajal declared that by invoking those themes he intended to inspire a new military effort to recover the Holy Land for Christendom.