The aim of this paper is to reconstruct the iconography of the heresy and Protestantism in the ephemeral decorations of the Royal entries in Portugal during the Early Modern period. It will be also analysed how these iconographical images changed thanks to the new political alliance between the Kingdom or Portugal and the Anglican England.
Este estudio se ocupa del retablo mayor de la “nueva Catedral” de Lérida —Catedral Nova de Lleida, en catalán—, obra maestra del escultor aragonés Juan Adán (1741-1816); e intenta documentar y (re)construir el proyecto de 1780. Poco antes de su terminación, éste fue destruido en el trágico incendio acaecido en julio de 1782, del cual se acusó injustamente a este escultor aragonés. Gracias a la investigación llevada a cabo en distintos archivos, se ha podido llegar a determinar sus circunstancias —pruebas, personas involucradas, consecuencias— sin las cuales el sentido de la historia y del patrimonio perdido sería incomprensible. Así pues, este estudio reúne numerosos materiales dispersos, junto a otros importantes documentos hasta ahora desconocidos sobre este trágico suceso y el verdadero alcance de la obra de Juan Adán.
This paper deals with the new propaganda image represented in the Portrait of John V of Portugal and the Battle of Matapan, attributed to Giorgio Domenico Duprà, a commemorative work of art which referenced the battle of Cape Matapan. The victory achieved by the Portuguese navy (with an allied Christian force) over the Ottoman Empire in the Aegean Sea, in June 1717, was directly related to the official royal propaganda deployed by the Portuguese before the Holy See. It was destined to make a new image of the Portuguese king as a Catholic hero and to demonstrate his adherence to the idea of a crusade against Islam. The idea of a "new crusade" against the Grand Turk, therefore, continued to be active in Rome (as in Lisbon) at the time of Pope Clement XI, and it is in this context that the portrait gains diplomatic and symbolic significance. It is about offering an alternative view not only of the royal rhetoric but also of the Portuguese public opinion that served as a counterpoint, through unpublished documentation.
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