Notas sobre los catafalcos de la monarquía hispánica y su simbolismo, a la luz de sus ejemplos físicos […]Boletín de Monumentos Históricos núm. 37 mayo-agosto 2016
La arquitectura efímera funeraria hispánica de los siglos xvii al xix es un tema de los más estudiados en la actualidad por historiadores del arte, si bien estos estudios se iniciaron desde una perspectiva algo distinta, puramente histórica. En paralelo, se han venido identificando, además de las fuentes documentales, ciertos elementos materiales en el ámbito iberoamericano, lo que permite reconstruir paulatinamente algo que sólo se conocía por descripciones y algunas fuentes gráficas. En este contexto, y como nueva línea de trabajo, se presenta un ejemplo de interpretación interrelacionada entre estos elementos constructivos, a la luz de la emblemática e iconografía barrocas, para demostrar cómo estos objetos aportan datos sobre honras y exequias reales celebradas en los territorios de la monarquía hispánica. Se ha elegido para ello el conjunto de paneles, restos de un túmulo real, procedentes de Santa Prisca de Taxco, que se analizan, tanto en lo material —comparándolos con ejemplos españoles— como en lo conceptual, reconstruyendo su programa decorativo y las alteraciones del mismo a causa de los avatares históricos. Asimismo se ha podido establecer que estos lienzos proceden, probablemente, de un túmulo erigido en honor de Carlos III. Palabras clave: iconografía, muerte, catafalcos, túmulos, exequias reales, oratoria, ánimas, Atienza, la Torre de Esteban Hambrán, Felipe IV, Carlos II, Fernando VI, Carlos III, Santa Prisca, Fénix, Cisne, Toisón, arte, emblemática, historia.
The Hispanic funerary ephemeral architecture from the 17th to the 19th centuries is one of the most studied topics by art historians, although these studies were initiated from a different, purely historical perspective. In parallel, we have come identifying, besides them sources documentary, some remains materials, both in America as in Spain, and is possible rebuild what only is known by descriptions and some images. In this context, and as a new line of research, we propose an example of interpretation connected between the Spanish and American constructive elements, analyzed to the light of the emblematic and iconography of the Baroque, to demonstrate that provide new data on them funeral rites and Royal obsequies held in them territories of the Hispanic monarchy. A set of painted panels from Santa Prisca de Taxco are analyzed, both materially and in the conceptual, compared with Spanish examples. Is proposed also a reconstruction of its decorative program, including the changes and losses because of the historical vicissitudes. Finally, it has been established that these paintings are probably part of one higher tumulus, erected in honor of Carlos III. Keywords: iconography, emblematic, history, art, ephemeral architecture, tumuli, engraving, Royal Obsequies, oratory, souls in Purgatory, Atienza, La Torre de Esteban Hambran, Felipe IV, Carlos II, Fernando VI, Carlos III, Santa Prisca, Phoenix, Swan, Golden Fleece.
The Hispanic funerary ephemeral architecture from the 17th to the 19th centuries is one of the most studied topics by art historians, although these studies were initiated from a different, purely historical perspective. In parallel, we have come identifying, besides them sources documentary, some remains materials, both in America as in Spain, and is possible rebuild what only is known by descriptions and some images. In this context, and as a new line of research, we propose an example of interpretation connected between the Spanish and American constructive elements, analyzed to the light of the emblematic and iconography of the Baroque, to demonstrate that provide new data on them funeral rites and Royal obsequies held in them territories of the Hispanic monarchy. A set of painted panels from Santa Prisca de Taxco are analyzed, both materially and in the conceptual, compared with Spanish examples. Is proposed also a reconstruction of its decorative program, including the changes and losses because of the historical vicissitudes. Finally, it has been established that these paintings are probably part of one higher tumulus, erected in honor of Carlos III. Keywords: iconography, emblematic, history, art, ephemeral architecture, tumuli, engraving, Royal Obsequies, oratory, souls in Purgatory, Atienza, La Torre de Esteban Hambran, Felipe IV, Carlos II, Fernando VI, Carlos III, Santa Prisca, Phoenix, Swan, Golden Fleece.
