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that bore an uncanny resemblance to retables. In fact, many look like stone altarpieces carved in high relief applied to the façades of churches. Although the phrase retable-façade is not actually found in contemporary sources, a number of accounts from the seventeenth century and later supported the findings of modern specialists by alluding to retables when describing some of these façades.
These rather puzzling structures had actually first appeared towards the end of the fifteenth century embellishing the front of several Late Gothic churches in Spain, and have apparently no counterpart in Europe or anywhere else. What is equally surprising is the fact that most of the artists who helped invent the type were not themselves Spanish. They often came from countries beyond the Pyrenees, such as Holland, Germany or France, and had been attracted to northern Spanish kingdoms by the patronage of kings, the church or the nobility. If they actually invented retable-façades is a mystery that has yet to be solved.
Retable-façades come in all shapes and sizes. Stylistically they range from the Late Gothic to the Late Baroque and beyond. Artistically they go from the sublime to the prosaic. Some of the finest examples of the genre were created in Spanish Latin America and in Portugal, though, as mentioned, they are practically unknown in Brazil and other Portuguese colonies. In fact, Reynaldo dos Santos and R.C. Smith have argued that retable-façades in Portuguese architecture only occur due to Spanish influence.
6
Santa Maria A Grande
One of the masterpieces of this type of façade is that of the church of Santa Maria A Grande (St Mary Major), in Pontevedra, Galicia, in the Northwest coast of Spain (Fig. 2).
I could equally well have chosen from amongst several works to demonstrate the more distinctive features of retable-façades. But I have selected Santa Maria A Grande because I believe it has unique features in common with the façade of St. Paul in Macao. To begin with, like St. Paul's, Santa Maria a Grande's fantastically ornate façade faces the river below from an imposing promontory.
Equally relevant are the economic and cultural reasons that brought
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that bore an uncanny resemblance to retables. In fact, many look like stone altarpieces carved in high relief applied to the façades of churches. Although the phrase retable-façade is not actually found in contemporary sources, a number of accounts from the seventeenth century and later supported the findings of modern specialists by alluding to retables when describing some of these façades.
These rather puzzling structures had actually first appeared towards the end of the fifteenth century embellishing the front of several Late Gothic churches in Spain, and have apparently no counterpart in Europe or anywhere else. What is equally surprising is the fact that most of the artists who helped invent the type were not themselves Spanish. They often came from countries beyond the Pyrenees, such as Holland, Germany or France, and had been attracted to northern Spanish kingdoms by the patronage of kings, the church or the nobility. If they actually invented retable-façades is a mystery that has yet to be solved.
Retable-façades come in all shapes and sizes. Stylistically they range from the Late Gothic to the Late Baroque and beyond. Artistically they go from the sublime to the prosaic. Some of the finest examples of the genre were created in Spanish Latin America and in Portugal, though, as mentioned, they are practically unknown in Brazil and other Portuguese colonies. In fact, Reynaldo dos Santos and R.C. Smith have argued that retable-façades in Portuguese architecture only occur due to Spanish influence. "
6
Santa Maria A Grande
One of the masterpieces of this type of façade is that of the church of Santa Maria A Grande (St Mary Major), in Pontevedra, Galicia, in the Northwest coast of Spain (Fig. 2).
I could equally well have chosen from amongst several works to demonstrate the more distinctive features of retable-façades. But I have selected Santa Maria A Grande because I believe it has unique features in common with the façade of St. Paul in Macao. To begin with, like St. Paul's, Santa Maria a Grande's fantastically ornate façade faces the river below from an imposing promontory.
Equally relevant are the economic and cultural reasons that brought
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