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Architecture of architectural altarpieces
Introduction
The altarpiece is the architectural, pictorial and sculptural structure that is located behind the altar "Altar (religion)") in the Latin rite Catholic "Church (building)" churches; In Eastern churches in communion with Rome or not, Anglican or Lutheran, there is no similar function, given the presence of the iconostasis, and in Protestant churches a great reduction in decoration is usually chosen.
The word derives from the Latin expression retaulus, which comes from retro (lit., 'behind') tabula (table).[2] which means "figures that are placed on a table to tell a story."
It also means table behind an altar. To designate the same term, the expression "altar piece" is also used (more typical of the English language –altarpiece–, where retable is distinguished from reredos)[3] or the Italian pala d'altare (or ancóna).[4].
The name main altar is particularly designated to the one that presides over the main altar of a church; since churches may have other altarpieces located behind the altars of each of the chapels. The term "table "Table (painting)")" refers to the support of the paintings (which can also be the canvas), and its structure is indicated with the terms diptych, triptych or polyptych (an arrangement that smaller-format devotional works not intended for an altar can also have, such as The Garden of Earthly Delights).
• - The garden of delights, from Bosco (open), ca. 1480-1490.
• - Ditto (closed).
The altarpieces have been made with all types of materials (all types of wood, all types of stones, all types of metals, enamel, terracotta, stucco, etc.) and can be sculptural (in different degrees of "Relief (art)" reliefs or with round figures), or pictorial; It is also very common that they are mixed, combining paintings and carvings.
From the end of the century they were the most relevant elements in the interior decoration of churches, both in northern Europe (Germany and Flanders; a specific typology is called "Antwerp altarpieces")"[5]) and in southern Europe (Italy, and especially in the Christian kingdoms of the Iberian Peninsula, where altarpieces reached an extraordinary development, later spreading throughout the Spanish-Portuguese colonies in America and Asia).[6] The preference for this artistic form meant that in many cases they were hidden behind the previous Romanesque fresco altarpieces.[7].
Architecture of architectural altarpieces
Introduction
The altarpiece is the architectural, pictorial and sculptural structure that is located behind the altar "Altar (religion)") in the Latin rite Catholic "Church (building)" churches; In Eastern churches in communion with Rome or not, Anglican or Lutheran, there is no similar function, given the presence of the iconostasis, and in Protestant churches a great reduction in decoration is usually chosen.
The word derives from the Latin expression retaulus, which comes from retro (lit., 'behind') tabula (table).[2] which means "figures that are placed on a table to tell a story."
It also means table behind an altar. To designate the same term, the expression "altar piece" is also used (more typical of the English language –altarpiece–, where retable is distinguished from reredos)[3] or the Italian pala d'altare (or ancóna).[4].
The name main altar is particularly designated to the one that presides over the main altar of a church; since churches may have other altarpieces located behind the altars of each of the chapels. The term "table "Table (painting)")" refers to the support of the paintings (which can also be the canvas), and its structure is indicated with the terms diptych, triptych or polyptych (an arrangement that smaller-format devotional works not intended for an altar can also have, such as The Garden of Earthly Delights).
• - The garden of delights, from Bosco (open), ca. 1480-1490.
• - Ditto (closed).
The altarpieces have been made with all types of materials (all types of wood, all types of stones, all types of metals, enamel, terracotta, stucco, etc.) and can be sculptural (in different degrees of "Relief (art)" reliefs or with round figures), or pictorial; It is also very common that they are mixed, combining paintings and carvings.
Architects, sculptors, stewers, gilders, carpenters and carvers collaborated on those of great complexity, so their elaboration was an expensive and slow process, especially in the larger specimens. Their state of conservation has depended on multiple factors, among which are the well-intentioned attacks to which they have been subjected for centuries (inadequate cleaning and "beautification"), looting or destruction in contexts of war or conflict of very different types, and deterioration due to adverse physical conditions. Consequently, its restoration is equally problematic and specialized.[8].
The altarpieces usually adopt a geometric arrangement, dividing into «bodies&action=edit&redlink=1 "Body (architecture) (not yet written)")» (horizontal sections, separated by moldings) and «streets&action=edit&redlink=1 "Street (architecture) (not yet written)")» (vertical sections, separated by pilasters or columns "Column (architecture)")). The units formed by this grid of bodies and streets are called "encasamentos")",[9] and usually house sculptural representations or paintings. The set of architectural elements that frame and divide the altarpiece is called "mazonería")".[10] There are also examples that are organized in a simpler way, with a single scene focusing the attention.[11].
The altarpiece is usually raised on a plinth "Plinth (construction)") to avoid moisture from the ground. The lower part that rests on the plinth is called a bench or predella, and is arranged as a horizontal section like a frieze that in turn can be divided into compartments and decorated. The element that finishes the entire structure can be a semicircular lunette or a "spine" or attic; As corresponds to its dominant position, it is usually reserved for the representation of the Eternal Father or a Calvary. The entire set is sometimes protected with a molding called a dust cover "Dust cover (architecture)"), very common in Gothic altarpieces. The articulated altarpieces (a common characteristic in the notable Flemish altarpieces that achieved great influence in Italy - Portinari triptych - and in Spain - Spanish-Flemish style -)[12] allowed two layouts to be presented: open and closed, although sometimes the complexity is greater (Isenheim altar). The "closed" position of Flemish altarpieces usually contained grisaille (a pictorial representation that simulates stone sculptures through trompe l'oeil). The articulation of the altarpieces gave rise to the German name flügelaltar (literally "winged altar").
Beginning in the 19th century, the tabernacle or tabernacle (place where sacred forms are kept) became relevant, gradually centralizing the space of the altarpiece until it became, at times, its main element, even adopting free-standing and independent forms.[13].
The Protestant Reformation of the 19th century, characterized by a marked aniconism, which in some cases led to iconoclasm (with greater intensity in Anabaptism and Calvinism, less in Lutheranism, minimal in Anglicanism, where the use of altarpieces is explicitly authorized[14]), practically eliminated the use of altarpieces and sacred images in the territories that were the protagonists of the movement (Northern Germany, Switzerland, Holland, England, Scandinavia). In some cases magnificent examples from previous eras disappeared; while the imagery and altarpiece tradition was substantially limited to Catholic countries, where it even intensified as a consequence of the Counter-Reformation.[15].
Altarpiece as a serialized narrative representation and as a stage
In the performing arts, "retablo" is the small stage on which the puppet theater is performed. Significantly, the DRAE derives this use ("small stage in which an action was represented using figurines or puppets", meaning 3) from its peculiar way of defining pictorial-sculptural altarpieces, where it places emphasis on their capacity for serialized narrative representation ("set or collection of painted or carved figures, which represent a story or event in series", meaning 1) rather than on their decorative capacity ("work of architecture, made of stone, wood or other material, which makes up the decoration of an altar", meaning 2).[16] The so-called "hallelujahs" were also a similar literary form, associated with popular representations (such as, for example, their recitation by blind people or other types of beggars, while pointing out the drawings that illustrate what was recited in the form of vignettes, a precedent for comics).
Cervantes refers to this theatrical form on two occasions: in The altarpiece of wonders (entremés of 1615) and in chapters XXV and XXVI of the second part of Don Quixote de la Mancha (published the same year).
Manuel de Falla composed El altarpiece de Maese Pedro (1923) about the quixotic episode.
The name "Spanish theatrical altarpiece" refers not so much to a dramatic genre but to the way theater itself was conceived by the authors of classical Spanish theater of the Golden Age (particularly Calderón, La vida esdream, El gran Teatro del mundo).[17].
The component of "pretense of reality" that theatrical altarpieces have in Cervantes or Calderon's works ("deceive with the truth" and "teach with deception") is also present in the role expected of ecclesiastical altarpieces (defined as "illusory machines") in "control over the sensitivity of the faithful", configuring "the theatrical scene of liturgy, dogma, piety and Catholic devotion."[18] Such condition makes them particularly useful not only for iconographic and iconological studies, but for the history of mentalities and anthropology.[19].
Precedents
The altar was, from the first moments of Christianity, the central element of the liturgy. At first its arrangement in the temple was free and central, with the faithful located around it, thus remembering the banquet of the Last Supper. However, with the strengthening of the authority of the clergy, the altars were moved to the presbytery "Presbytery (architecture)"), an elevated place inaccessible to the faithful, close to the wall of the head of the church (apse), and which in certain types of church was even hidden with curtains, bars, or the iconostasis. The officiant performed most of the ritual with his back to the faithful.
• - Church of the monastery of San Miguel de Escalada (Mozarabic art, Spain, century). The altar, in the apse, is behind a gallery of arches that separate it from the central nave.
• - Iconostasis of the Visoki Dechani monastery church (Byzantine art, Serbia, 19th century).
Early Christian temples decorated their interiors with mural paintings (Dura Europos chapel) and certain objects for liturgical use, such as reliquaries, caskets, ivory diptychs or small statues. Its primitive austerity was compensated by the luxurious donations offered by the potentates (Guarrazar treasure). In the Pre-Romanesque, images of the crucified Christ began to spread, which were placed hanging from the walls or the ceiling, and which could be pictorial or sculptural (Crucified of Gero"), Cologne Cathedral), or sometimes dispensing with figuration to take the form of a jewel (crux gemmata"), such as the Victory Cross of the Holy Chamber of Oviedo). The decoration of the antependium "Frontal (architecture)") (pallium altaris, frontal or front of the altar) also took on great relevance, derived from the curtains that covered the urns with relics arranged under the altar table (whose color had to vary to correspond with the liturgical color of the party or office of the day) and which were enriched with all types of ornaments in precious materials.[20] The hypothesis has been proposed that, Evolutionarily, the altarpiece derived from the antependium.[21].
The forms of the later altarpiece also seem to prefigure some structures derived from the classic aedicula (aedicules -"temples" or "small buildings"-), especially the ciborium "Ciborio (architecture)") or ciborio (a fixed canopy or pallium "Palio (canopy)") supported by four columns, later called canopy or canopy), a common element in early Christian churches, which protected and gave relevance visual to the altars, reliquaries and tombs of saints and martyrs, which usually coincided in the same place.[22].
• - Ciborio of San Ambrosio de Milan (the columns, from the century, the canopy, later (between the and the); the altar"), signed by Vuolvino"), between the year 824 and 860.[23].
• - Roman ciborium from the 1st century.
• - Ciborio of Saint John Lateran, by Arnolfo di Cambio (19th century).
The internal decoration of the churches was adapted to their modest dimensions in most cases, and the emphasis was placed on the parietal decoration, either through brightly colored frescoes, or with mosaics enriched with gold tesserae (very common in Byzantine art), so that the images stood out in generally dark and small interiors. The elements that were placed on the altar were almost always movable (caskets "Arqueta (furniture)"), diptychs, icons "Icon (religion)")) and their sumptuousness in terms of materials also meant a small size. The Romanesque did not represent a great change in this simple system of interior decoration of the temples, with a predominance of frescoes in the apses (Romanesque churches of the Bohí Valley, Saint-Savin-sur-Gartempe Abbey), the figures of Christ in Majesty and Virgin in Majesty and the altar frontals, which became painted, carved or embossed decoration supports, often enriched with enamels or metalwork.[24] Although the shapes and materials were already very similar to those of the later altarpieces, the arrangement of the piece was exactly the opposite (in front of the altar and under it, instead of behind and in an elevated position). In fact, some have been reused as altarpieces, such as that of the sanctuary of San Miguel de Aralar.[25].
• - Altar front of the hermitage of San Quirce de Durro[26].
• - Altar frontal of Santa María de Tahull.
• - Altar frontal of the Seo of Urgel, called "of the apostles" (the altar frontal of Ix is similar).
• - Altar front of the Aachen Cathedral.
• - Altar frontal of Basel Cathedral.
• - Current position of the altar frontal of San Miguel de Aralar, reused as an altarpiece.
gothic altarpiece
Contenido
El esplendor del monacato, la pujanza de las ciudades y el crecimiento poblacional y económico que se dio en Europa a partir del siglo hicieron que los templos tuvieran que adaptarse a fin de dar cabida a un mayor número de fieles, satisfacer los deseos de patrocinio de la élite y mostrar la riqueza de una sociedad en la que la religión regía todos los aspectos de la vida. A partir del siglo surge el arte gótico; la arquitectura adquiere dimensiones colosales y una gran complejidad constructiva, y tanto pintura como escultura, a demanda de una sociedad amante del lujo y la ostentación, cobran un gran desarrollo. Otro factor de cambio fue la aparición de las órdenes mendicantes, que propugnaban una religiosidad más emotiva y cercana al fiel, a la vez que se preocupaban por la enseñanza y la doctrina.
Como en el románico, grandes ciclos narrativos se seguían esculpiendo en las portadas de iglesias y catedrales; pero la decoración interior va a sufrir una mayor transformación: los vitrales, que ocupan los grandes vanos abiertos en los muros gracias a las nuevas técnicas constructivas, se ilustran con representaciones sagradas; y la nueva amplitud y luminosidad de los templos permite la mejor contemplación de las imágenes repartidas por las numerosas naves y capillas, que cumplían la función de espacios corporativos para las instituciones que las encargaban (gremios, cofradías y familias aristocráticas), convertidas en mecenas artísticos.
Las nuevas prácticas piadosas requerían un número cada vez mayor de objetos sagrados cada vez más suntuosos y visibles. Se intensificó el culto a las reliquias y a las imágenes de santos, consideradas un instrumento valioso para la evangelización.
Es en ese contexto donde surgieron los primeros retablos, primero como tablas rectangulares con imágenes de modesto tamaño (como el retablo de Westminster"), de 1x3 metros, o el retablo de Bernabé, de 1x1,5 metros), a veces a juego con el frontal de altar (como sucede en uno de los ejemplos más antiguos conservados: el de la iglesia del monasterio de Santa María de Mave, Palencia), luego articuladas y abatibles, de forma cada vez más compleja (dípticos, trípticos, polípticos como el llamado Políptico de Gante), o bien realizados con materiales preciosos (los de la catedral de Gerona, el altare argenteo di San Jacopo")[29] de la catedral de Pistoia[30] o la Pala d'Oro de la basílica de San Marcos de Venecia).[31][32].
En un primer momento, los retablos no abandonaron del todo su carácter mueble o plegable, y es posible que muchos fueran utilizados en procesiones y otro tipo de actos públicos que exigían su trasladado fuera del ámbito del templo, como sucedía con los dípticos devocionales o los iconos "Icono (religión)") de carácter doméstico y privado. Sin embargo, poco a poco los retablos fueron haciéndose más grandes y estables, toda vez que debían destacar casi siempre en las dimensiones colosales de abadías o catedrales. La retablística se consolidó en toda la cristiandad latina de la Baja Edad Media (un vasto espacio —de Islandia a Chipre— recorrido por múltiples conexiones e influencias mutuas y variantes locales, de la pala italiana al flügelaltar centroeuropeo)[33] como un género artístico pujante y creativo, que contaba con importantes artistas especializados en las distintas especialidades necesarias para su diseño y ejecución.
• - La llamada Pala d'oro de la catedral de San Marcos (Venecia). Encargada a orfebres bizantinos en el siglo , fue ampliada en los siglos posteriores.
• - Detalle del retablo de Westminster") (ca. 1270).[34].
• - El altare argenteo de la catedral de San Zenón (Pistoia). Encargada en 1287, fue objeto de sucesivas ampliaciones hasta 1456.
• - El retablo de Santa María de Mave") (arriba -abajo, el frente de altar-), actualmente conservado en la capilla de San Nicolás de la catedral de Burgos. Su datación es muy imprecisa (siglos -).[35].
• - Virgen con el Niño, inicialmente parte del mismo retablo, que permanece en la iglesia del monasterio de Santa María de Mave.[36].
El material más empleado fue la madera, casi siempre dorada y policromada, aunque no faltan ejemplos en madera vista u otros materiales (plata o todo tipo de piedras). Las variantes regionales hacen difícil una clasificación uniforme; por ejemplo, en Aragón, desde el siglo tomaron una peculiar forma de expositor eucarístico, realizados casi siempre en alabastro. El retablo gótico suele presentar una apariencia marcadamente geométrica, con los encasamentos linealmente dispuestos y ocupados por pinturas o esculturas. Muchos de ellos toman la forma del ábside en el que se sitúan (como el mayor de la catedral Vieja de Salamanca), aunque es más común el esquema cuadrangular con un saliente en la parte superior a modo de remate (la espina o ático "Ático (arquitectura)")), que inicialmente tomaba la forma de uno o varios gabletes. El contorno del retablo solía estar recorrido por una moldura muy resaltada (el guardapolvo "Guardapolvo (arquitectura)")). Se utilizaban abundantemente los elementos decorativos de la arquitectura gótica, enmarcando las figuras (fueran pinturas, relieves o imágenes de bulto) mediante doseletes o chambranas,[37] y pináculos, cresterías, florones y otros elementos ocupando el resto del espacio, como resultado del horror vacui. Fue habitual también la introducción de elementos heráldicos o incluso de retratos de los comitentes (habitualmente, en posición orante). Con el tiempo se fue estableciendo la separación entre el cuerpo del retablo propiamente dicho y el banco o predela sobre el que se apoya; y dentro de aquel, la configuración en cuerpos y calles. Los retablos ganaron en dimensiones, complejidad y lujo, hasta convertirse en enormes estructuras profusamente decoradas. Resultaron idóneos para la narración de los ciclos de la vida de Cristo, la Virgen o el santo a quien el altar se dedicaba. La presencia de numerosas imágenes, advocaciones o reliquias dentro de un mismo templo justificó la multiplicación de capillas, altares y retablos. El de la capilla mayor o presbiterio, foco de atracción principal, se denomina «retablo mayor», mientras que los situados a lo largo de muros laterales, trasepto y girola reciben la denominación de «retablos laterales» o «retablos menores».
Facades-altarpiece
The altarpiece of the centuries reached an extraordinary development in the Christian kingdoms of the Iberian Peninsula, where to the general characteristics of the Gothic style were added the specific characteristics of both Flemish Gothic (commercial and political relations with Flanders were especially intense) and Italian Gothic[38] on the other, and the local influences of Mudejar art. The architecture itself reflects the importance that the altarpieces had achieved, by projecting the conventions of their design on the main facades of the temples (and even other types of buildings), with the typology called "facade-altarpiece" (not to be confused with a confluent concept, that of facade-curtain)),[39] which was continued in Spanish architecture of the Renaissance") and the Baroque and colonial architecture of America. For the new conception of the covers "Portada (architecture)"), the key moment was the overcoming of the classical Romanesque and Gothic conception of the flared covers of archivolts and tympanums "Tímpano (architecture)") with sculptural decoration, which was substantially altered in the Spanish-Flemish architecture of the second half of the century.[40][41].
Gothic altarpieces in the Iberian Peninsula
Among the surviving examples, few are preserved in their original location. Many of them have been transferred to diocesan and provincial museums, and some of the most important have become part of the collections of the National Museum of Sculpture (Valladolid), the National Museum of Art of Catalonia (Barcelona) or the Prado Museum (Madrid). Very notable have been the temporary exhibitions of the cycle The Ages of Man. As a result of the plundering of Spanish artistic heritage (very intense between 1808 and the middle of the century) many Gothic altarpieces have ended up in private collections and foreign museums. Previously, it was common for them to have suffered all kinds of alterations when they were dismantled for different reasons, frequently as a consequence of their replacement by altarpieces from the Renaissance or Baroque period, and for their reuse in environments other than those for which they were initially designed. All of this has meant that most of them are dispersed or have been totally or partially lost. The documentary sources written for these periods (relatively abundant in Spanish archives compared to other cases) make it possible to reconstruct the history of a good number of altarpieces, but it is most likely that for the vast majority there will not even be any news of their existence. They stand out, in chronological order:[42].
• - The main altarpiece of the Cathedral of Gerona, made of silver, forming twenty-six compartments with relief figures, from the .[43] century.
• - The old main altarpiece of the Barcelona Cathedral, with a fundamentally architectural structure (1356-1367, modified over the centuries and -its central image, an apostle Santiago, was added when the altarpiece was moved to the church of San Jaume in the same city, in 1971-).[44].
• - The altarpiece of San Cristóbal") (19th century), from a Riojan monastery.[45].
• - The altarpiece of Santo Domingo de Tamarite de Litera") (second third of the century).[46].
• - Those due to the Master of Estimariu or Estopiñán (active in the Crown of Aragon between 1360 and 1380, whose identity and origin is the subject of debate), such as the altarpiece of San Vicente "Altarpiece of San Vicente (Estopiñán)") and the tables of Santa Lucía").[47].
• - Those due to Andrés Marzal de Sax (Marçal de Sas, probably originally from Saxony), introducer of Central European international Gothic in Spain (active in Valencia between 1393 and 1410). The Great Altarpiece of Saint George painted for the Brotherhood of Centenar de la Ploma is traditionally attributed to him, although the attribution is currently disputed, and it should be assigned to a Master of Centenar").[48]
• - Those due to Pere Serra, such as the altarpiece of the Holy Spirit from the Seu of Manresa (ca. 1394) and the altarpiece of All Saints from the Monastery of Sant Cugat (1375).[49].
Gothic altarpieces in central-western Europe
The areas politically divided between the kingdom of France, the Burgundian State and the principalities of the Holy German Empire developed an important production of Gothic altarpieces in the last centuries of the Middle Ages, stylistically labeled with the different names of the late Gothic; notably the international Gothic, characterized by refinement, elegance and sentimentality, slender proportions, sinuous lines and the nuanced color that allows shading and volume to be given to the figures (painters such as Conrad Soest, Master Francke, Stefan Lochner, Henri Bellechose, Jean Malouel, Jean de Beaumetz, etc.), with influence also in more remote areas of Central Europe, such as Italy or Spain.[70].
Within that style, in the Bohemia of the century the work of two anonymous masters stood out, authors respectively of the Altarpiece of Vyšší Brod") or of Hohenfurth"),[71] which represents the childhood of Christ (Cistercian convent of Vyšší Brod or Hohenfurth"), of the so-called Master of Vyšší Brod") or of Hohenfurth"), ca. 1350 - today dismantled -) and of the Třeboň Altarpiece") or of Wittingau") (convent of the Augustinians of Prague, of the so-called Master of Třeboň or of Wittingau, ca. 1380-1390. In the same area, in the century the so-called Master of the Garden of Paradise of Frankfurt or Master of the Upper Rhine stood out.
From the middle of the century, the evolution of artistic forms was marked by the development of Flemish and Italian painting in the new context of the Renaissance, but Gothic survived well into the century.
• - French Gothic altarpieces.
• - Altarpiece of the Virgin of the Blessed Sacrament in Saint-Georges de Haguenau").[72].
• - Chapel of Our Lady of Saint-Sulpice de Fougères").[73].
• - Chapel of the Nativity of Saint-Vulfran de Abbeville").[74].
• - Grabow Altarpiece"), by Master Bertram (1379).[75].
• - Altarpiece of the Crucifixion"), by Jacques de Baerze[76] (1390), commissioned by Philip the Bold for the charterhouse of Champmol.[77].
• - Altarpiece of Saint Barbara, by Master Francke (1410-1415).
• - Tables from the left wing of the altarpiece of the life of Saint John the Baptist, by the Master of the Garden of Paradise (1410-1420).
• - Altarpiece with scenes of the passion in Saint-Clair-Saint-Léger de Souppes-sur-Loing").[78].
• - Altarpiece from southern Germany (1360-1370), currently in the church of Santiago in Nuremberg.
• - Sculptural triptych (open) in the church of Sogn Gieri") (Switzerland, century).[79].
• - Altarpiece from the Walpurgiskirche")[80] by Alsfeld.
• - Altarpiece from the Marienkirche of Gelnhausen.[81].
Italian altarpiece from Gothic to Renaissance
Since the beginning of the century, a new aesthetic trend that takes Greco-Latin Antiquity as a source of inspiration triumphs in Europe: the Renaissance. After initially imposing itself on the Italian peninsula, the new artistic style spread rapidly, reaching its maximum splendor in the middle of the century. The Renaissance brought with it a revision of Gothic forms, which were replaced by elements of a classicist nature.
In Italy, the altarpiece (called there pala) had never acquired large proportions, since the tradition of fresco paintings in churches was maintained; although Giotto and Simone Martini, renowned fresco artists, also created outstanding polyptychs for altars. Almost all of Duccio's work is done in pale. Also notable is l'Altare di argento"),[86] the silver altarpiece from the Baptistery of Florence (central compartments, by Betto di Geri") and Leonardo di Giovanni"), 1366 -the four lateral reliefs are by sculptors from the Quattrocento: Pollaiuolo, Verrocchio and two other goldsmiths-).[87].
• - Reconstruction of the original appearance of the Maestà of the Cathedral of Siena, by Duccio, 1308-1311.
• - The so-called "triptych")" or "Stefaneschi polyptych")",[88] by Giotto, ca. 1320 (anterior view -straight-).
• - Idem (rear view -verso-).
• - The so-called "polyptych of Saint Catherine of Alexandria")",[89] by Simone Martini, 1320.
• - Triptych of the Virgin with the Child and Saints Peter and Paul"),[90] from the Pieve")[91] of San Giovanni d'Asso, by Ugolino di Nerio (1320-1325).
• - Annunciation between Saints Ansano and Margaret, by Simoni Martini, 1333.
• - Reconstruction of the Pala della beata Umiltà") ("altarpiece of the blessed Humility")"),[92] by Pietro Lorenzetti, ca. 1341.
• - Pala della Crocifissione")[93] ("altarpiece of the Crucifixion")"), by Jacopo di Cione,[94] Nardo di Cione[95] and his workshop (ca. 1368).
• - Reconstruction of the original appearance of the polyptych of San Pier Maggiore "Church of Saint Peter the Great (Florence)"), by Jacopo di Cione (1370-1371).
With the emergence of the new style, the architectural structure of the altarpiece becomes clearer and simpler (you can see how some altarpieces by Fra Angelico exemplify the evolution from one structure to another).
• - Altarpieces by Fra Angelico.
• - The so-called "triptych of San Pedro Mártir")"[96] (1428-1429).
• - Annunciation "The Annunciation (Fra Angelico, Madrid)"), painted as pala d'altare for the convent of Santo Domingo de Fiesole")[97] (1430-1435).
• - The so-called tabernacolo dei Linaioli")[98] (1432-1433).
• - The so-called "Cortona triptych")",[99] (1436-1437).
• - The so-called pala di Perugia"),[100] (1438).
• - Reconstruction of the so-called pala di San Marco&action=edit&redlink=1 "Pala di San Marco (Fra Angelico) (not yet written)"),[101] (1440).
• - The so-called pala di Bosco ai Frati"),[102] (1450-1452).
New techniques emerged, such as enamelled terracotta (Della Robbia brothers), while the use of marble, bronze or granite became widespread as opposed to polychrome wood. The typically Renaissance decorative elements, such as the grotesque, candelieri, the vegetal scrolls, the putti, the tondo or clypeus, or the flameros, come to ornament the new structures, formed by pilasters, columns or semi-columns, friezes and cornices, all with a clear inspiration in classical antiquity. Some altarpieces are integrated into the architectural space for which they have been designed, with trompe-l'oeil effects. The pagan or profane influence also ends up transferring to religious images. All these elements will soon go beyond the scope of the Italian peninsula and be exported to the rest of European territories.[105].
• - The so-called Polyptych of Mercy, by Piero della Francesca, (1445-1462).
• - The so-called Pala di San Zeno or altarpiece of San Zeno, by Andrea Mantegna, 1457-1460.
• - The so-called pala di Pesaro"),[106] by Giovanni Bellini (1471-1483).
• - The so-called Pala di San Marco&action=edit&redlink=1 "Pala di San Marco (Vivarini) (not yet written)"), by Bartolomeo Vivarini (1474). It should not be confused with Boticelli's homonymous.
• - Current assembly of the so-called "polyptych of Saint Peter",[107] by Perugino, ca. 1496. The original provision was more complex.
• - Adoration of the Magi, terracotta altarpiece by Andrea della Robbia (1500-1510).
• - Reconstruction of the so-called "Recanati polyptych",[108] by Lorenzo Lotto, ca. 1506.
• - The so-called pala di San Zaccaria, by Giovanni Bellini.
• - The so-called "Arcevia polyptych")",[109] by Luca Signorelli (1507).
• - Altarpiece of the church of Santa Corona")[110] (Vicenza), by Bartolomeo Montagna.[111].
Late Gothic Flemish altarpieces and Nordic Renaissance
In the area ambiguously called Flanders by historiography, the Burgundian State starred in a cultural splendor that Johan Huizinga described as Autumn of the Middle Ages; and which continued in the Modern Age under the Habsburgs. Like the highly appreciated Flemish tapestries, the Flemish altarpieces were exported throughout Europe, both the pictorial polyptychs (the Van Eyck, Van der Weyden, Van der Goes) and the sculptural ones, with complex architectural composition and motifs derived from international Gothic.[117] Some of them received commendable names (such as "the pearl of Brabant")" or "the miracle of Dortmund")»).[118].
In the kingdom of France, the work of sculptors such as Antoine Le Moiturier (altarpiece of the Last Judgment in the collegiate church of Saint Peter in Avignon),[119] of which only two angels remain),[120] and painters such as Jean Fouquet (the daring diptych for the funerary chapel of Agnès Sorel in Melun Cathedral) gained great fame.
In the Central European cities of Germanic culture, around the Rhine and the Danube, which witnessed the birth of the printing press, which had a spectacular impact on the dissemination of humanism and the transformation of culture in the final decades of the century and the first decades of the century, the work of painters such as Pacher, Dürer, Grünewald, Altdorfer, Ratgeb, Baldung, the Cranachs and the Holbeins stood out, which also developed in altarpieces. Alternatively, or integrated into the same altarpieces, the work of sculptors such as Veit Stoss, Nikolaus Gerhaert, Tilman Riemenschneider or Nicolas de Haguenau was developed. The forms evolved from fixed panels of modest dimensions to large, complex articulated structures with complex architectural ornamentation. The wings were usually dedicated to pictorial representations of the saints, while the central panel was reserved for evangelical scenes in bulk carvings.[121].
Starting in 1517, the impact of the Protestant Reformation was very notable, and as far as the altarpieces were concerned, it caused the destruction of many religious images; although there were also prominent Lutheran artists who continued to make altar pieces, such as the Cranachs.[122].
• - Triptych of the Annunciation or Mérode, by Robert Campin (1425-1430).
• - Polyptych of the Last Judgment (open), by Rogier van der Weyden (1440-1450).
• - Idem (closed).
• - Altarpiece of the Blessed Sacrament "The Last Supper (Dirk Bouts)"), by Dirk Bouts (1464-1467).
• - The altarpiece called "the pearl of Brabant")", ca. 1470.[123].
• - The so-called "Portinari triptych", by Hugo van der Goes (1476-1478).
• - The so-called Pacher-Altar"),[124] altarpiece of St. Wolfgang im Salzkammergut by Michael Pacher (1471).[125].
• - The so-called "altarpiece")" or "altar of the Dormition")" or Krakow"),[126] by Veit Stoss (1477-1489).
• - The so-called "altarpiece")" or "Kefermarkter altar")" (1490-1497).[127].
• - The so-called "altarpiece")" or "altar of the Holy Blood")" (Heiligblutaltar")),[128] by Tilman Riemenschneider (1501—1505). By the same author, or his circle, are the altarpiece in the church of Saints Peter and Paul in Detwang"),[129] the Zwölfbotenaltar")[130] and the Marienretabel from the Herrgottskirche")[131] in Creglingen.
• - Part of the panels of the so-called altarpiece") or "altar of Saint Sebastian")" (Sebastianaltar"))[132] of the monastery of Saint Florian")[133] (Sankt Florian"), Austria), by Altdorfer (1509-1519).[134].
• - Altarpiece of the main altar of Freiburg Cathedral, by Hans Baldung (1512-1516).
• - The so-called "altarpiece" or "altar of Isenheim" (1512-1516). Closed configuration, with Grünewald paintings.
• - Idem. First opening configuration (first center panels deployed).
• - The so-called "altarpiece")" or "Herrenberger altar")",[135] by Jerg Ratgeb (1518-1521).
• - The so-called "altarpiece" or "Oberried altar")", by Hans Holbein the Younger (1521-1522).
• - The so-called "altarpiece")" or "Schneeberger altar")" (Wolfgangskirche"), Schneeberg),[136] by Lucas Cranach the Elder, 1532–1539 (anterior view -recto-).
• - Idem (rear view -verso-).
The so-called "Antwerp altarpieces".
In the 2nd centuries, the fame of the so-called "Antwerp altarpieces"[5] spread throughout Europe. The commercial boom of the city of Antwerp had occurred especially from the decline of the city of Bruges "Bruges (Belgium)"), and suffered a terrible blow with the sack of Antwerp of 1576.
• - Antwerp altarpieces.
• - The so-called "Pruszcz polyptych")", ca. 1500.
• - Altarpiece of San Juan Bautista from the church of El Salvador in Valladolid, ca. 1500 (the bench was made by local artists).[137].
• - Altarpiece from the chapel of Santo Cristo in the convent of San Francisco in Valladolid, ca. 1515.
• - Altarpiece from the Marienkirche in Lübeck, by the so-called Master of 1518[138].
• - Altarpiece of Saints Cornelius and Cyprian from Kirrlach").
• - Altarpiece of Roskilde Cathedral.
• - Altarpiece from the Votivkirche in Vienna.
• - Altarpiece from the Marienkirche of Waase").[139].
• - The so-called "altarpiece of Philippa of Gelderland" in Pont-à-Mousson.
• - Altarpiece of Saint Lambert of Affeln")[140] (1525).
Spanish Renaissance altarpiece
Suele establecerse una periodización cronológica del Renacimiento en España entre el Alto y el Bajo Renacimiento español, aunque las etiquetas estilísticas son de uso problemático: "plateresco" se aplica a las producciones del primer tercio del siglo , caracterizadas por el horror vacui, que se comparaban con el trabajo de los plateros, y en el que se encuadran tanto los últimos maestros de tradición gótica o hispano-flamenca como la introducción de nuevos elementos de origen renacentista italiano; "manierista" se aplica al tercio central del siglo (aunque es un adjetivo que puede aplicarse tanto a los discípulos de las grandes figuras italianas de comienzos del siglo como al periodo post-tridentino y hasta el comienzo del siglo ); "romanista "Romanismo (arte)")" se aplica al tercio final del siglo, caracterizado por las formas sobrias de Gaspar Becerra y el gran proyecto escurialense.
plateresque altarpiece
In Spain, the Renaissance aesthetic took time to prevail, due to the roots of Gothic or Spanish-Flemish forms. At first, Italianate forms appear timidly in the altarpieces (just as they did in architecture), in the form of decorative details. Only later in the century did a new aesthetic take shape: the plateresque style.
The Plateresque altarpiece combines Gothic elements with others of Italian roots, characterized by its narrative character (reliefs or paintings) and the development of the tabernacle that adopts a central and prominent position. Plateresque altarpieces are generally very flat, configured using pilasters or semi-columns, with the novelty of the baluster as support. The decoration is usually stylized and small, in the form of grotesques, scallops "Venera (mollusk)"), heads of cherubs, angels, scrolls..., with new formal typologies appearing, such as circular reliefs or those made in stiacciato.
In the Crown of Castile are outstanding examples of Plateresque altarpiece:
• - the main altarpiece of the Palencia Cathedral, considered one of the first Renaissance altarpieces in Spain (contracted in 1504), work of Felipe Vigarny, Alejo de Vahía, Pedro de Guadalupe, Juan de Flandes and Juan de Valmaseda;[144].
• - the main altarpiece of the Royal Chapel of Granada, also the work of Felipe Vigarny, decorated with scenes of the conquest of Granada and praying statues of the Catholic Monarchs, by Diego de Siloé;[145].
• - the main altarpiece of the church of San Pelayo in Olivares de Duero (province of Valladolid);
• - the main altarpiece of the Convent of San Pablo in Palencia;.
• - the altarpiece of the chapel of La Piedad of the Church of San Miguel Arcángel (Oñate) "Iglesia de San Miguel Arcángel (Oñate)");.
• - the altarpiece of the church of El Salvador (Calzadilla de los Barros) "Iglesia del Salvador (Calzadilla de los Barros)"), by Antón de Madrid") (first third of the century).[146].
In the Crown of Aragon, simultaneously with the introduction of Italian Renaissance forms by Pedro Fernández de Murcia (altarpiece of Santa Elena in the cathedral of Gerona), the Gothic tradition of the alabaster altarpiece-exhibitor continued, adapting to the new aesthetics, highlighting in this area Damián Forment, to whom are owed:
• - the main altarpiece of the Basilica del Pilar in Zaragoza (1512-1518), in alabaster, with a Gothic structure and almost round reliefs;
• - the main altarpiece of the cathedral of Huesca (1520), made of alabaster, its body is a large triptych of three scenes showing the passion of Christ;.
• - the main altarpiece of the Poblet monastery, more Plateresque in character, with the characteristic flat scallops;.
• - the main altarpiece of the cathedral of Santo Domingo de la Calzada, made of gilded and polychrome wood, with exuberant decoration.
Also notable in the Aragonese altarpieces of this period was the work of Juan de Moreto, Juan de Salas "Juan de Salas (sculptor)") and Gabriel Yoly (altarpiece in the chapel of San Miguel in the cathedral of Jaca, main altarpiece in the cathedral of Teruel); continued in the central decades of the century by Cosme Damián Bas") (altarpieces from the Albarracín cathedral, some in non-polychrome wood).[147].
• - Spanish Plateresque altarpieces.
• - Main altarpiece of the Constable chapel. In the same place there are other notable altarpieces.
• - Main altarpiece of the church of the convent of San Pablo in Palencia.
• - Altarpiece of the chapel of the Piedad de San Miguel de Oñate "Church of San Miguel Arcángel (Oñate)").
• - Main altarpiece of the Basilica del Pilar, by Damián Forment (1512-1518).
• - Main altarpiece of the Palencia cathedral.
• - Main altarpiece of the Teruel cathedral.
• - Altarpiece of San Miguel in the Jaca Cathedral (other notable altarpieces are preserved in the same temple).
• - Main altarpiece of the Huesca cathedral.
• - Altarpiece of the Virgen de los Marantes in the chapel of the Admiral's Room of the Real Alcázar of Seville, by Alejo Fernández (1531-1536). The building has other chapels with notable altarpieces.[148].
• - Altarpiece of the Virgin of Good Counsel in the chapel of San Bartolomé of the cathedral of Santiago de Compostela, by Mateo Arnao") (1521).
• - Altarpiece of Don Fadrique of Portugal in the Cathedral of Sigüenza, by Alonso de Covarrubias, Francisco de Baeza"), Sebastián de Almonacid and Juan de Talavera (1520-1529).
Mannerist altarpiece
Starting in the 1530s, Mannerism, an evolution of 15th century classicism, invaded all European artistic fields. In Spain, the emergence of this style puts an end to the last remnants of the Gothic and imposed the validity of the Italianate style from that decade until practically the 19th century.
In the field of altarpieces, the Mannerist style produced brilliant performers, with masterpieces that would be greatly admired and imitated. The first of them was Alonso Berruguete, one of the most recognized Spanish sculptors of all time. His most ambitious work, the main altarpiece of the monastery of San Benito de Valladolid "Altarpiece of San Benito el Real (Valladolid)") (1527-1532), is today disintegrated into several parts, almost all of which are preserved in the National Museum of Sculpture in the same city. Berruguete's temperamental and unclassifiable art exhibits in this work some of the characteristics of Hispanic Mannerism, mixing typical elements of the most orthodox Renaissance (veneras, balusters, tondo reliefs) with a peculiar totally anti-classical dramatic sense, in which the forms are subjected to the general effect of expressiveness and movement.[150] Berruguete was quite prolific in his dedication to the altarpiece, and created an important workshop with disciples. such as Francisco Giralte (author of the altarpiece of the Bishop's Chapel "Capilla del Obispo (Madrid)") attached to the parish of San Andrés in Madrid) or Manuel Álvarez, responsible in part for the great diffusion and success of the Berruguetesque style.
The other great Mannerist master, belonging like Berruguete to the Valladolid focus, was Juan de Juni. Like the first, it cultivates the Italianate style from a very personal perspective. Many of Juni's masterpieces were in the field of the altarpiece; He managed to conceive his altarpiece creations as a unitary whole and not mere framework architectures, and he did not hesitate to alter and deform the principles of classicism for the sake of expressiveness. It is very striking that the Junesque images and reliefs seem to overflow the frame that contains them, which gives these works great visual power and greater proximity to the viewer, prefiguring certain baroque tendencies. Some of his best-known altarpieces are the largest one in the cathedral of Valladolid (commissioned from the artist for the church of Santa María la Antigua), that of the Alderete chapel in San Antolín de Tordesillas and that of the Benavente chapel in Santa María de Medina de Rioseco.
• - Mannerist altarpieces.
• - Altarpiece by Juan de Juni in the main chapel of the cathedral of Valladolid.
• - Altarpiece of Santa María de Mediavilla de Medina de Rioseco.
• - Image of San Benito de Nursia, carving from the central niche of the old altarpiece of San Benito el Real of Valladolid, by Alonso Berruguete (today dismantled and exhibited in pieces in the National Museum of Sculpture).[151].
Romanist altarpiece
In the middle of the century, the Council of Trent marks a caesura in religious experience and art in particular. The need for greater clarity and forcefulness in the transmission of the evangelical message means that certain mannerist formal excesses are tempered. Thus arose the style a la Romana or Romanism "Romanism (art)"), which will be predominant until the end of the century, coexisting however with Mannerism, which retained a certain validity. Following the new style, the altarpieces acquire a more architectural and monumental conception; The severity of the decoration is accentuated (pediments, free-standing columns, friezes, triglyphs and metopes), while the images become expressive and gesticulating, in an attempt to be persuasive.
The new trend will be led by masters such as Gaspar Becerra, author of the main altarpiece of the Cathedral of Astorga (1558-1562), a paradigmatic piece that will create a fashion, being widely copied. Other representative artists of this moment are Pedro López de Gámiz (main altarpiece of the convent of Santa Clara "Monasterio de Santa Clara (Briviesca)"), Briviesca), Rodrigo de la Haya (who with his brother Martín made the main altarpiece of the Burgos cathedral) and Juan de Ancheta.
• - Main altarpiece of the Cathedral of Astorga.
• - Main altarpiece of the convent of Santa Clara de Briviesca.
• - Main altarpiece of the Burgos cathedral.
Perhaps the culminating moment of the Romanesque style, as well as its end, was the classicism that was imposed during the reign of Philip II and the construction of the Monastery of El Escorial. The Escurialense style marks the transition from the Renaissance to the Baroque in Spain. It is an art that dispenses with accessory elements, eliminating any decorative concession and giving prominence to the architectural support, which follows the classical canons in an almost obsessive way, although introducing a gigantism with Michelangelo roots. Regarding altarpieces, the main example of this trend was the main altarpiece of the monastery's Basilica. Being a commission of great symbolic importance (since it had to preside over the space where the kings of Spain were buried) made this piece a unique work; The most expensive materials were used in its making (jaspers, polychrome marble, fire-gilded bronze) as well as a plethora of artists among the most famous of their generation: Juan de Herrera gave the general layout, Pompeyo and Leone Leoni made the sculptures and it was even thought that a painting by Titian would preside over the ensemble, although finally the pictorial part was commissioned to Pellegrino Tibaldi and Federico Zuccaro.
This monumental work can be considered the swan song of the Renaissance in Spain in the field of the altarpiece. The impact and novelty that it entailed would prevail well into the century, collecting many examples that would be made from then on some of these innovations, such as the rigid superimposition of orders, the use of stone instead of polychrome wood, the clear structuring and iconographic hierarchy, and above all, the emphasis that will be given from now on to the tabernacle or tabernacle, which, as happens in El Escorial, often becomes exempt and almost independent of the body of the altarpiece.[156].
Baroque altarpiece: 17th and 18th centuries
El Barroco fue, quizá, la época dorada del retablo, tanto por el gran número de ellos que se hicieron como por su importancia artística, su variedad tipológica y formal, y sus dimensiones, que llegaron a ser del todo monumentales. En esta época, además, con la implantación de la Contrarreforma tras el Concilio de Trento, se afianza la construcción de retablos en lugares donde había decaído en siglos anteriores, como zonas de Alemania, Austria, Polonia, Países Bajos católicos o la misma Italia. En todo caso, la península ibérica siguió siendo el centro más creativo e importante, con la novedad de la exportación a las iglesias y catedrales que se construían en esa época en las colonias de América y otros lugares.
En los siglos y , el retablo cobró un extraordinario protagonismo en el interior de las iglesias, de modo que muchas veces la propia arquitectura de los templos acaba supeditada a su colocación, generalizándose las cabeceras planas con testero ciego, o a lo sumo con ventanales abiertos en su parte más alta de modo que no interfieran con la estructura del retablo y se adapten a ella. En una época en la que el arte busca la cercanía con el fiel, se generalizan tipologías nuevas, como el retablo con camarín (que tenía precedentes en el Renacimiento), el retablo exento a modo de ciborio "Ciborio (arquitectura)") o tabernáculo, el retablo-transparente, con aberturas que dejan pasar la luz, el retablo-relicario, surgido a partir del resurgir del culto a las reliquias de los santos, etc.
Los retablos barrocos suelen concebirse como parte integrante de una decoración mayor que se extiende por toda la iglesia, y así hacen juego a veces con frescos pintados en techos o paredes, o con otros retablos, repitiendo por ejemplo los llamados "retablos colaterales" la forma y decoración del retablo mayor o de la capilla principal. En esta época se acentúa fuertemente la jerarquización de los elementos decorativos del templo, a la vez que los mismos tienden a formar un todo. Naturalmente, esto es más palpable en las iglesias construidas ex-novo en época barroca, aunque viejos templos como la catedral de León sufrieron en esta época el influjo del nuevo estilo, diseñándose decoraciones a veces un tanto chocantes con la arquitectura precedente.[161].
Italian baroque altarpieces
In the Italian Baroque, the iconography of the pale, following the theological recommendations of the Counter-Reformation, focuses on a single theme, such as the patron saint of the church or the corresponding altar, usually on canvases or in large sculptural groups. The material used most extensively and frequently in Italian Baroque altarpieces is marble in contrast to the gilded and polychrome wood of previous periods. Sometimes other semiprecious materials such as lapis lazuli and malachite are used.
• - Italian baroque altarpieces.
• - Pala di altare of the capella dei gesuiti in the parish church of Grazzano Badoglio, by Andrea Pozzo.
• - Pala of the cappella Panciatichi of the Cathedral of Florence, painted by Domenico Pugliani").[162].
• - Ensemble of the capella Cornaro") in Santa Maria della Vittoria in Rome, which includes Bernini's Ecstasy of Saint Teresa behind the altar.
Flemish baroque altarpieces
In the Southern Netherlands, in reaction to Protestant aniconism, the decoration of Catholic churches became extreme. Not only the altarpieces, but the pulpits and even the pillars of the naves became supports for sophisticated sculptural groups, while the large-scale creations of the Flemish school of painting headed by Rubens were added to the tradition of pictorial polyptychs, in much more simplified structures.
• - Flemish baroque altarpieces.
• - Baroque altarpiece from the chapel of the Madonna of Bruges (which displays in its center a carving by Michelangelo from the beginning of the century) in the church of Our Lady of Bruges.[163].
• - Main altarpiece of the cathedral of San Rumoldo de Mechelen, by Lucas Faydherbe.
• - Altarpiece of the Crucifixion in the same cathedral, by Van Dyck (1630).
• - Altarpieces by Rubens in the Antwerp Cathedral.
• - Main altarpiece with the Assumption of the Virgin&action=edit&redlink=1 "Assumption of the Virgin (Rubens) (not yet written)") (1626).
• - The elevation of the cross (1610-1611).
• - Descent "Descent of Christ (Rubens)") (1612).
• - Resurrection of Christ&action=edit&redlink=1 "Resurrection of Christ (Rubens) (not yet written)") (1612), open.
• - Idem, closed.
French baroque altarpieces
The relationship between French altarpieces and complex Baroque spirituality has been particularly studied.[164][165].
• - French baroque altarpieces.
• - Altarpiece of the Assumption of the Virgin in the church of Saint Nicholas of the Fields "Church of Saint Nicholas of the Fields (Paris)") in Paris,[166] by Simon Vouet and Jacques Sarrazin (1629).
• - Main altarpiece of the church of Saint-Jean-du-Marché de Troyes"),[167] trace by François Girardon and painting by Pierre Mignard (Baptism of Christ).
• - Main altarpiece of the Cathedral of Cavaillon"),[168] by Pierre Mignard.
• - Altarpiece of the charterhouse of Vauclair").[169].
Central European baroque altarpieces
In Central Europe, the Baroque was the art of the Counter-Reformation in the areas that were maintained or recovered by Catholicism (Habsburg States of Vienna, Southern Germany, Poland); but also art in Lutheran areas. At the end of the century and the beginning of the century, the altarpieces merged with the architectural environment, which in turn blurred into sculptures and ornamental elements in all types of materials (stones, metals, and especially stucco).
• - Central European baroque altarpieces.
• - Main altar of the Karlskirche of Vienna "Church of St. Charles Borromeo (Vienna)").
• - Main altar of the Michaelerkirche in Vienna "Michaelerkirche (Vienna)").[170].
• - Altarpieces from the Wallfahrtskirche of Maria Plain")[171] in Salzburg.
• - Main altarpiece of the church of Saint Nicholas in Malá Strana")[172] in Prague.
• - Altarpieces of the church of Saint Nicholas (Bernbeuren)&action=edit&redlink=1 "Church of Saint Nicholas (Bernbeuren) (not yet written)").[173].
• - Altarpiece from the church of Saint Cosmas and Saint Damian in Stade, by Christian Precht[174] (1677), a Lutheran church.
• - Altar of the Schloßkirche of Weesenstein"),[175] a Lutheran church.
• - Main altarpiece of the Gertrudenkirche in Osnabrück, by Thomas Simon Jöllemann")[176] (1717-1729).
• - Main altarpiece of the Asamkirche[177] in Munich, by the Asam brothers (1733-1746).
• - Main altarpiece of the Church of the Assumption in Gniezno.
• - Main altarpiece of the church of the Exaltation of the Holy Cross in Jelenia Góra.
• - Altarpieces from the church of San Bernardino de Siena in Krakow.
• - Altarpiece from the church of Skedsmo (Norway).
Spanish baroque altarpieces
Spanish baroque altarpieces are very sophisticated, complex and varied in local schools.[178] In the same place, such as the Cartuja de Granada, you can see classicist altarpieces (such as the trompe l'oeil by Sánchez Cotán) and the greatest exuberance (such as those in the sacristy and the famous free-standing tabernacle, by Francisco Hurtado Izquierdo). In Salamanca at the end of the century, the churrigueresque style triumphed. In the Toledo of the first third of the century, Narciso Tomé achieved a high point of the style (the famous "transparent"), which later neoclassical criticism denigrated as an example of Baroque "bad taste." The granite filigrees on the façade of the Obradoiro of the Cathedral of Santiago de Compostela (Fernando de Casas Novoa, also the author of traces of altarpieces, notably that of San Martín Pinario, together with Miguel de Romay[179]) are often compared with the shapes of these latest Baroque altarpieces. Over the course of a century and a half, multifaceted artists (such as Alonso Cano) or specialized in one art (such as the architects Juan Gómez de Mora[180] or José de Churriguera, the sculptors Alonso and Pedro de Mena, Gregorio Fernández, Martínez Montañés or Francisco Salzillo, or the painters Murillo, Valdés Leal or Zurbarán) left a good part of their work in altarpieces of the era; while within baroque altarpieces carvings or paintings from previous periods were also included (as occurs in the main altarpiece of the Valencia Cathedral).[181].
• - Main altarpiece of the Valencia Cathedral, of Baroque style (Juan Bautista Pérez Castiel, 1674-1682) but whose paintings are Renaissance, much earlier (Fernando Yáñez de la Almedina and Fernando de los Llanos, 1506-1510).
• - Altarpiece-reliquary from the convent of San Diego in Valladolid, by Juan de Muniátegui"), Vicente Carducho and Bartolomé Carducho (1604-1606).
• - Altarpiece from the Cerralbo chapel, by Alonso de Balbás and Francisco Camilo.
• - Altarpiece or fake altar of Saints Peter and Paul in the Cartuja de Granada, by Sánchez Cotán.
• - Main altarpiece of the church of the Annunciation (Seville) "Church of the Annunciation (Seville)"), where Alonso Matías"), Antonio Mohedano, Juan de Roelas and Martínez Montañés among others (1604-1624) participated.
• - Main altarpiece of the Convent of Santa Isabel "Main altarpiece of the Convent of Santa Isabel (Valladolid)") of Valladolid, by Francisco Velázquez, Cristóbal Velázquez, Melchor de Beya, Juan Imberto and Gregorio Fernández (1613-1614).
• - Lateral altarpiece of the Royal Chapel of Granada, by Alonso de Mena (1632).
• - Tables from the "Portaceli altarpiece"), from Ribalta.
• - Main altarpiece of the church of the convent of the Descalzas Reales (Valladolid) "Convento de las Descalzas Reales (Valladolid)"), by Juan de Muniátegui"),[182] Gregorio Fernández and Santiago Morán, 1612.
Portuguese baroque altarpieces
The symbolism of the "Eucharistic throne" in Portuguese baroque altarpieces has been investigated.[188].
• - Main altarpiece of the Aveiro Cathedral. The same temple contains other notable altarpieces.
• - Altarpiece from the chapel of Nossa Senhora da Doutrina in the church of San Roque (Lisbon) "Church of San Roque (Lisbon)").[189] The same temple contains other notable altarpieces, and the museum of which it is part, an exceptional collection of sacred art, including altarpieces from other sources.[190].
• - Main altarpiece and sides of the church of the convent of Santa Clara-a-Nova").[191].
• - Main altarpiece of the church of Vilar de Frades.
• - Altarpiece of the Matriz de Melgaço church"). In the same temple there is another notable altarpiece by António Figueiroa") (end of the century).
Colonial baroque altarpieces
The extraordinary decorative richness (both in the materials used and in the profusion of details) and some syncretic characteristics coming from the indigenous artistic substrate (although they basically respond to European aesthetic and religious criteria) characterizes the baroque altarpieces of the colonial cities of the Spanish and Portuguese empires (unified between 1580 and 1640). In addition to those of Spanish America and the Philippines, those of the Portuguese colonial cities of Goa (in India) and Salvador de Bahia (in Brazil) are particularly notable; those of the latter are counted in the hundreds (it was said that mass could be heard on a different day of the year - the same was said of the Mexican valley of Cholula).[192][193].
However, there was already production of altarpieces in Spanish America in the century; both in the first ecclesiastical foundations of the Caribbean and in the continental territories.[194] The one that is considered oldest on the continent is that of San Juan Cuauhtinchán") (Puebla), dating back to around 1527.[195].
• - The so-called "altarpiece of the Kings" in the cathedral of Mexico.
• - Altarpiece called "of the kings" in the cathedral of Puebla.
• - Church of the monastery of San Gabriel de Cholula").
• - Church of San Miguel Tianguishahuatl") in San Pedro Cholula.
• - Main altarpiece of the church of San Francisquito de Campeche.
• - Main altarpiece of the church of Chacas, Peru.
• - Main altarpiece of the church of the Company (Quito) "Iglesia de la Compañía (Quito)").
• - Main altarpiece of the church of San Rafael de Velasco (Santa Cruz, Bolivia).
• - Main altarpiece of San Ignacio de Velasco.
• - Main altarpiece of San Miguel de Velasco.
• - Altarpiece of the Immaculate Conception of San Ignacio de Velasco.
• - Main altarpiece of the church of Concepción (Santa Cruz) "Concepción (Santa Cruz)").
• - Main altarpiece of San José de Chiquitos.
• - Altarpiece of the Chiquilín church") (Chachapoyas).
• - Main altarpiece of the Cathedral Basilica of San Salvador (Salvador de Bahía, Brazil), former Jesuit church, by João Correia") (1665-1670).[196].
• - Main altarpiece and sides of the church of the convent of San Francisco (Salvador de Bahía)&action=edit&redlink=1 "Church of the convent of San Francisco (Salvador de Bahía) (not yet written)").[197].
• - Altarpieces from the side chapels of the same church.
• - Main altarpiece of the church of Our Lord of Bonfim (Salvador de Bahía).
• - Main altarpiece of the Basilica of the Santo Niño of Cebu.
• - Main altar and sides of the Basilica of the Good Jesus of Goa.
Contemporary Age
In the middle of the century, the ornaments of the Louis At the beginning of the century he brought the simplest forms of Greco-Roman doorways to the altarpieces. Since the mid-19th century, eclectic and historicist altarpieces have been produced. Already in the 19th century, the renewal of ecclesial aesthetics in Catholicism was radical, opening up to the artistic avant-garde, especially after the Second Vatican Council. The altarpiece of the Basilica of Aránzazu is also notable.
• - Altarpiece of Saint Eufemia "Altarpiece of Saint Eufemia (Ourense Cathedral)") of the Cathedral of Ourense (1720).
• - Altarpiece of Saint Catherine "Altarpiece of Saint Catherine (Monasterio de San Martín Pinario)") from the Monastery of San Martín Pinario (1763).
• - Altarpiece of the Holy Christ of Hope "Altarpiece of the Holy Christ of Hope (Orense)") of the Church of Santa Eufemia "Iglesia de Santa Eufemia (Orense)") of Ourense (1770-1771).
• - Altarpiece from the San Bernardino chapel of the Basilica of San Francisco the Great, with Goya's canvas San Bernardino of Siena preaching before Alfonso V of Aragón (1781-1783).
• - Main altarpiece of San Jerónimo el Real (Madrid), in a painting by Luis Paret (1791).
• - The altarpieces were destroyed during the French occupation, which turned the church into a barracks (1808-1814), the current ones are the result of the restoration directed by Enrique María Repullés (1879-1882).
• - Behind the main altar of the Magdalena church, a sculptural group by Carlo Marochetti is arranged as an altarpiece[201].
• - Behind the main altar of the Sacré Cœur basilica there is a neo-Romanesque altarpiece.[202].
• - Chapel of Saints Gregory and Augustine in Westminster Cathedral, in a historicist style that can be classified as Neo-Byzantine, where the mosaics are framed in architectural structures that look like an altarpiece.
• - Neo-Gothic altarpiece of the Basilica of Saint-Materne"), by Léopold Blanchaert") (1901).
• - Main altarpiece "Main altarpiece of the Church of Santiago (Orense)") of the church of Santiago de Orense, by Maximino Magariños Rodríguez (1919).
• - Crystal altarpiece by René Lalique in the Glass Church") of Millbrook (Jersey)&action=edit&redlink=1 "Millbrook (Jersey) (not yet written)").
• - The altar of the church of St. Engelbert (Cologne)&action=edit&redlink=1 "Church of St. Engelbert (Cologne) (not yet written)")[203] shows the decorative simplicity of the churches of the 19th century.
• - Torreciudad altarpiece, by Joan Mayné.[204].
• - The main altar of the new Basilica of the Virgin of Guadalupe in Mexico reproduces the recognizable volume and layout of the classic Hispanic altarpieces, although with a radical simplification of elements.
• - Idem, detail.
• - Bronze altarpiece from the Notre-Dame Basilica of Montreal, by Charles Daudelin (1978-1982).
• - Finnish birch wood altarpiece from the Zacatecas Cathedral, by Javier Marín.
• - Altarpiece of the parish church of Hontoria de la Cantera.
• - Ayacucho altarpiece.
• - Portuguese national altarpiece.
• - Wikimedia Commons hosts a multimedia category on Altarpiece.
• - Wiktionary has definitions and other information about altarpiece.
• - Retrotabulum.
• - Mediatheque. Idem.
• - Ceramic altarpieces.
• - L'Europe des retables, colloquium organized by Rencontre avec le Patrimoine Religieux, 2004 (there are two derived publications -Art Sacré - Les retables and Art Sacré: L'Europe des retables volume II (XVIe - XVIIIe s.).
• - Gisela M. A. Richter, Otmar Richter, Christoph Machat, Arbeitskreis für Siebenbürgische Landeskunde, Siebenbürgische Flügelaltäre, Wort und Welt Verlag, 1992, ISBN 3-85373-149-X.
• - Altarpieces from the church of San Juan (Salvatierra).
• - Concepción de la Peña Velasco, The value of the word in the Spanish altarpiece. From the end of Gothic to the beginning of Neoclassicism.
• - Altarpiece; Illustrated basic terminology. Product of collaboration between the Andalusian Institute of Historical Heritage and the Getty Conservation Institute [1].
• - The five altarpieces... cultura.castillalamancha.es -Main altarpiece of the Church of San Bartolomé. Bienservida (Albacete), Main altarpiece of the Cathedral of Nuestra Señora del Prado in Ciudad Real, Altarpiece of the Chapel of the Assumption of the Church of San Pedro Apóstol. Villaescusa de Haro (Cuenca), Altarpiece of Santa Librada in the Cathedral of Sigüenza (Guadalajara), Main Altarpiece in the Cathedral of Santa María de Toledo.
[2] ↑ Según el DRAE: Del b. lat. retaulus, y este del lat. retro, detrás, y tabŭla, tabla. Las fuentes discrepan sobre la identificación de tal "tabla" con las del propio retablo o con la mesa del altar: The Spanish word retablo was derived from the Latin term retro tabula for "behind the altar" (retro for back and tabula for board, tablet; the Latin tabulum means table) (Art and Faith in Mexico: The Nineteenth Century Retablo Tradition). From the low Latin retaulus (retro-tabula), something "behind the table" or altar. (The Art and Architecture of the Texas Missions - Página 218). Deriva del latín vulgar, retaulus (Latín: retro tabula, literalmente, detrás de la mesa) (Los retablos del siglo XVIII en el sur de España, Portugal y México - Página 15). ...se pone este tablero atrás del altar, de ahí su nombre: retro tábula (Manual de arte cristiano... - Página 317).
[3] ↑ En lengua inglesa se establece una diferencia entre dos tipologías de altarpieces, la denominada reredos y la denominada retable. Nicolas Pioch, Webmuseum, 14 Oct 2002: Altarpieces divide into two main types: the reredos, which rises from ground level behind the altar, and the retable, which stands either on the back of the altar itself or on a pedestal behind it. Many altars have both.
[4] ↑ *Giovanni Gheradini Voci e maniere di dire italiane additate a'futuri vocabolaristi, Bianchi e comp., 1838, vol. 1, pg. 646: ANCÓNA. Sust. f. Tavola dipinta, quadro... deriva dil greco Eicon... [es decir, de εἰκών -eikon, Imagen, icono-]... Alberti, il qual dice qui per "Ancona" si intende "Tavola o Quadro grande di altare". Ma, oltreche gli artisti in tal signif. speciale usano la voce "Pala"...
[5] ↑ a b * Barbara Welzel, Thomas Lentes, Heike Schlie (Hrsg.): Das „Goldene Wunder“ in der Dortmunder Petrikirche. Bildgebrauch und Bildproduktion im Mittelalter (= Dortmunder Mittelalter-Forschungen. Bd. 2). 2. Auflage. Verlag für Regionalgeschichte, Bielefeld 2004, ISBN 3-89534-582-2.
[9] ↑ Adorno de fajas y molduras en una pared o bóveda y también nicho (cavidad de un muro para colocar una estatua, jarrón o cosa semejante), lo que más a menudo se entiende como hornacina -Real Academia Española. «encasamento». Diccionario de la lengua española (23.ª edición). Real Academia Española. «hornacina». Diccionario de la lengua española (23.ª edición). -. El mismo DRAE recoge encasamiento, aunque ese término tiene otro uso: reparo de las casas, es decir, lo que se más a menudo se entiende como mantenimiento -Real Academia Española. «encasamiento». Diccionario de la lengua española (23.ª edición). Real Academia Española. «mantenimiento». Diccionario de la lengua española (23.ª edición). -. No debe confundirse con casamiento -Real Academia Española. «casamiento». Diccionario de la lengua española (23.ª edición). -.: https://dle.rae.es/encasamento
[10] ↑ El DRAE la define como fábrica de cal y canto - obra de relieve - bordado de oro y plata de realce - conjunto de varias piezas de plata u oro que se hacían para el servicio de las iglesias (esta última acepción, seañalada como uso antiguo) -Real Academia Española. «mazonería». Diccionario de la lengua española (23.ª edición). -. No debe confundirse con masonería -Real Academia Española. «masonería». Diccionario de la lengua española (23.ª edición). -.: https://dle.rae.es/mazoner%C3%ADa
[11] ↑ * Glosario de términos en CVC (Centro Virtual Cervantes)
[15] ↑ C.M. Martín Jiménez y A. Martín Ruiz, Retablos escultóricos Renacentistas y Clasicistas, Valladolid: Diputación Provincial, 2010.
[16] ↑ Real Academia Española. «retablo». Diccionario de la lengua española (23.ª edición).: https://dle.rae.es/retablo
[17] ↑ Agustín Tamayo, Cervantes, síntesis de la cultura española, en VV. AA., IV centenario de Cervantes, Universidad Nacional Mayor de San Marcos, Lima, 1948, págs. 29-35 (reproducido en CVC): La Edad de Oro en que la trilogía Lope, Tirso, Calderón, realiza el prodigio del retablo teatral español. Retablo popular, en que se ha señalado la falta de perspectiva; defecto que venciera en España, y ya anteriormente, el hebreo Fernando de Rojas, adelantándose a Shakespeare.: http://cvc.cervantes.es/literatura/quijote_america/peru/tamayo.htm
[19] ↑ * Gaby Vovelle, Michel Vovelle, Vision de la mort et de l'au-delà en Provence: d'après les autels des âmes du purgatoire XVe-XXe siècles, Armand Colin, 1970
[23] ↑ Pierluigi De Vecchi ed Elda Cerchiari, I tempi dell'arte, volume 1, Bompiani, Milano 1999. Fuente citada en Vuolvino y it:Altare di Sant'Ambrogio.
[34] ↑ Binski, Paul ; Ann Massing (eds); The Westminster Retable: History, Technique, Conservation, Turnhout: Harvey Miller, 2008, ISBN 978-1-905375-28-8. Fuente citada en Westminster Retable.
[37] ↑ El DRAE recoge su etimología del francés antiguo chambrande, y dos acepciones: cada uno de los travesaños que unen entre sí las partes de una silla, de una mesa o de otro mueble, para darles mayor seguridad; y, como término arquitectónico, labor o adorno de piedra o madera, que se pone alrededor de las puertas, ventanas, chimeneas, etc. -Real Academia Española. «chambrana». Diccionario de la lengua española (23.ª edición).: https://dle.rae.es/chambrana
[38] ↑ Pierluigi De Vecchi ed Elda Cerchiari, I tempi dell'arte, volume 1, Bompiani, Milano 1999.
[39] ↑ Fachada telón Archivado el 5 de marzo de 2016 en Wayback Machine. en glosario.net
[42] ↑ * María del Carmen Lacarra Ducay (coord.) Retablos esculpidos en Aragón: del Gótico al Barroco, Institución Fernando el Católico.
[43] ↑ Francesca Español, L'escenari litúrgic de la catedral de Girona: un patrimoni moble desmantellat? (conferencia, 19-12-2011). Fotografía antigua, en la web oficial Archivado el 28 de diciembre de 2016 en Wayback Machine.. Véase la imagen disponible en Commons: el retablo, de muy pequeño tamaño en comparación con las dimensiones del templo, está bajo un baldaquino y tras las rejas que delimitan la zona del altar.: http://aar-iec.blogspot.com.es/2011/12/19-12-2011-conferencia-dra-francesca.html
[45] ↑ Pequeño retablo dividido en tres calles y tres cuerpos dedicado a San Cristóbal, protector contra la muerte súbita, que ocupa la calle central, rematada por la Crucifixión.... En las calles laterales aparecen escenas de las vidas y martirios de otros santos: San Pedro, San Blas y San Millán, identificados con sus nombres en las molduras que los separan, y un ángel turiferario -portador de un incensario- en el remate.... Perteneciente al estilo francogótico o gótico lineal, propio de la pintura castellana del siglo XIV... De origen desconocido, se supone que este retablo pudo proceder de un monasterio benedictino riojano al incluir una escena de la vida de San Millán. El león y el castillo que se repiten en los límites de la obra simbolizan los reinos de Castilla y León, y sugieren que la obra pudo haber sido destinada a una fundación Real. Ficha en la web del Museo del Prado.: http://www.museodelprado.es/coleccion/galeria-on-line/galeria-on-line/obra/retablo-de-san-cristobal/
[46] ↑ Retablo de Santo Domingo de Guzmán (Tamarite de Litera) -fotografías-. Gemma Malé, Nuevas aportaciones sobre el retablo de Santo Domingo de Tamarite de Litera - iconografía, origen, promoción y datación, Anuario del Departamento de Historia y Teoría del Arte, ISSN 1130-5517, N.º 20, 2008, págs. 37-52.: http://arte-paisaje.blogspot.com.es/2012/04/retablo-de-santo-domingo-de-guzman.html
[58] ↑ Arnaud Gassies fue un pintor nacido en Perpiñán (Rosellón -norte de Cataluña, en el reino de Francia desde el siglo XVII-, ca. 1390 - ídem, 1456 o 1458). Le retable de Saint-Michel et Saint-Hippolyte commandé par Pierre de Mont Roigt est considéré « retable des verriers ». Ses peintures furent réalisées en 1454 par le peintre Arnaud Gassies qui fut vraisemblablement influencé par le peintre flamand Vaneyck (de nombreux peintres étrangers sont venus dans la région pour exercer dès cette époque là, d'où ces influences nordiques dans la touche de peintres locaux). Le retable de Saint-Jean l'évangéliste, gothique comme le précédent, fut lui aussi réalisé par l'atelier de Gassies en 1461 (son atelier a continué l'activité, lui même n'a pas pu le réaliser car il est mort en 1458. (Palau del Vidre). Marcel Durliat, Arnaud Gassies: peintre perpignanais du XVe siècle, Imprimerie du Midi, 1951. Arnaud Gassies.: http://masterpropatrimoinedeperpignan.over-blog.com/article-palau-del-vidre-113865243.html
[60] ↑ Entre las obras realizadas en este ámbito artístico hay que destacar el conjunto de cuatro tablas, procedentes del antiguo Retablo Mayor de la iglesia hispalense de san Benito de Calatrava, en las que se representan ocho santos emparejados. A mediados del siglo XVII, las tablas fueron sustituidas por otras encargadas a Valdés Leal, guardándose las originales hasta ser depositadas en el museo por las Órdenes Militares en 1908. (El Museo de Bellas Artes de Sevilla -II. La planta baja.) Véanse imágenes en Juan Sánchez de Castro.: http://leyendasdesevilla.blogspot.com.es/2011/08/el-museo-de-bellas-artes-de-sevilla-ii.html
[66] ↑ F. Röhrig: Der Verduner Altar. 8., neu bearb, Auflage, Klosterneuburg, Wien 2004. Fuente citada en Meister der Rückseite des Verduner Altars.
[67] ↑ "Stift Klosterneuburg: 900 Years of History". Augustinian Canons. Fuente citada en en:Klosterneuburg Monastery, de:Stift Klosterneuburg.
[68] ↑ Karl, M. Koller, R. Perger, F. Röhrig und A. Rosenauer (Hrsg.): Der Albrechtsaltar und sein Meister. Wien 1981. Fuente citada en de:Meister des Albrechtsaltares zu Klosterneuburg y en it:Maestro dell'Altare di re Alberto.
[69] ↑ "Rueland Frueauf the Younger Brief Biography". Fuente citada en en:Rueland Frueauf the Younger. Karl Oettinger: Frueauf, Rueland der Jüngere. In: Neue Deutsche Biographie (NDB). Band 5. Duncker & Humblot, Berlin 1961, ISBN 3-428-00186-9, S. 667 f. Fuente citada en de:Rueland Frueauf der Jüngere.
[70] ↑
[71] ↑ Jaroslav Pesina: Der Hohenfurther Meister. Übers. von Lenka Reinerová. Prag 1982. Fuente citada en Meister von Hohenfurth.
[72] ↑ Ernst Adam: Baukunst der Stauferzeit in Baden-Württemberg und im Elsaß. Stuttgart and Aalen 1977th. Fuente citada en St. George's Church, Haguenau.
[73] ↑ Collectif, Le Patrimoine des Communes d'Ille-et-Vilaine, Éditions Flohic, Paris, mars 2000, 2 tomes, (ISBN 2-84234-072-8). Fuente citada en Église Saint-Sulpice de Fougères.
[74] ↑ Collégiale Saint-Vulfran, base Mérimée, ministère français de la Culture. Fuente citada en Église Saint-Vulfran d'Abbeville.
[75] ↑ Dube, Elizabeth Healy: "The Grabow Altar of Master Bertram von Minden", Providence, Brown Univ., Diss., 1982. Fuente citada en Grabower Altar.
[76] ↑ The Grove Dictionary of Art. Fuente citada en Jacques de Baerze.
[78] ↑ Église Saint-Clair-Saint-Léger [archive], base Mérimée, ministère français de la Culture. Fuente citada en Église Saint-Clair-Saint-Léger de Souppes-sur-Loing.
[79] ↑ Armon Fontana: Die Kirchen in Rhäzüns. Schweizerischer Kunstführer. Bern 2004. Fuente citada en Sogn Gieri (Kirche).
[80] ↑ Karl Mengel: Die Walpurgiskirche zu Alsfeld. Versuch einer Deutung der Entstehungsgeschichte der Alsfelder Hauptkirche. Geschichts- und Museumsverein Alsfeld 1994, ISBN 3-927284-05-X. Fuente citada en Walpurgiskirche (Alsfeld).
[81] ↑ Die Marienkirche: Gelnhausen und das Kloster Selbold. Fuente citada en Marienkirche (Gelnhausen).
[82] ↑ P. Strieder: Der Tucheraltar in der Nürnberger Frauenkirche. In: Die Kunst und das schöne Heim 48, 1949, S. 172-177. Fuente citada en Meister des Tucheraltars.
[83] ↑ Caterina Limentani Virdis, Mari Pietrogiovanna: Flügelaltäre; Hirmer Verlag, München 2002, ISBN 3-7774-9520-4. Elisabeth Margarete Comes: "Ein Garten Eden. Die Pflanzen auf Stefan Lochners Altar der Stadtpatrone", Nicolai Verlag, Berlin 2013, ISBN 978-3-89479-714-0. Fuentes citadas en Dreikönigsaltar (Stephan Lochner).
[88] ↑ Maurizia Tazartes, Giotto, Rizzoli, Milano 2004; fuente citada en Polittico Stefaneschi.
[89] ↑ Pierluigi Leone de Castris, Simone Martini, Federico Motta Editore, Milano 2003. Fuente citada en Polittico di Santa Caterina d'Alessandria.
[90] ↑ Gloria Fossi, Uffizi, Giunti, Firenze 2004. ISBN 88-09-03675-1 Fuente citada en Trittico della Madonna col Bambino e i santi Pietro e Paolo.
[91] ↑ "Luoghi della Fede", Regione Toscana. Fuente citada en Pieve di San Giovanni Battista (San Giovanni d'Asso).
[92] ↑ Gloria Fossi, Uffizi, Giunti, Firenze 2004. ISBN 88-09-03675-1 Fuente citada en Pala della beata Umiltà.
[93] ↑ Louise Govier, The National Gallery, guida per i visitatori, Louise Rice, Londra 2009. ISBN 978-1-85709-470-1. Fuente citada en Pala della Crocifissione.
[94] ↑ Andrea G. De Marchi, s. v. Jacopo di Cione, in Enciclopedia dell'Arte Medievale, VII, Roma, Treccani, 1996, pp. 244-246. Fuente citada en it:Jacopo di Cione.
[95] ↑ Hans Dietrich Gronau, Andrea Orcagna und Nardo di Cione. Eine stilgeschichtliche Untersuchung, Berlin, Deutscher Kunstverlag, 1937. Fuente citada en Nardo di Cione.
[96] ↑ John Pope-Hennessy, Beato Angelico, Scala, Firenze 1981. Fuente citada en Trittico di san Pietro martire.
[97] ↑ "Luoghi della Fede", Regione Toscana. Fuente citada en Convento di San Domenico (Fiesole).
[98] ↑ John Pope-Hennessy, Beato Angelico, Scala, Firenze 1981. Fuente citada en Tabernacolo dei Linaioli.
[99] ↑ John Pope-Hennessy, Beato Angelico, Scala, Firenze 1981. Fuente citada en Trittico di Cortona.
[100] ↑ John Pope-Hennessy, Beato Angelico, Scala, Firenze 1981. Fuente citada en Pala di Perugia.
[101] ↑ John Pope-Hennessy, Beato Angelico, Scala, Firenze 1981. Fuente citada en Pala di San Marco.
[102] ↑ AA.VV., Galleria degli Uffizi, collana I Grandi Musei del Mondo, Roma 2003. Fuente citada en Pala di Bosco ai Frati.
[103] ↑ Mariolina Olivari, Giovanni Bellini, in AA.VV., Pittori del Rinascimento, Scala, Firenze 2007. ISBN 88-8117-099-X. Fuente citada en Polittico di San Vincenzo Ferrer.
[104] ↑
[105] ↑
[106] ↑ Mauro Lucco, Giovanni Carlo Federico Villa, Giovanni Bellini, Silvana Editoriale, Milano 2008. ISBN 978-88-366-1133-1. Fuente citada en Pala di Pesaro.
[107] ↑ Vittoria Garibaldi, Perugino, in Pittori del Rinascimento, Scala, Firenze 2004 ISBN 88-8117-099-X. Fuente citada en Polittico di San Pietro.
[108] ↑ Pirovano, Carlo (2002). Lotto. Milan: Electa. Fuente citada en Recanati Polyptych.
[109] ↑ Antonio Paolucci, Luca Signorelli, in Pittori del Rinascimento, Scala, Firenze 2004 ISBN 88-8117-099-X. Fuente citada en Polittico di Arcevia.
[110] ↑ Scheda su Chiesa di Santa Corona. Fuente citada en Chiesa di Santa Corona.
[111] ↑ L. Puppi, Bartolomeo Montagna, Venezia, 1962. Fuente citada en it:Bartolomeo Montagna.
[112] ↑ Művészeti lexikon I–IV. Főszerk. Zádor Anna, Genthon István. 3. kiad. Budapest: Akadémiai. 1981–1983. Fuente citada en .
[121] ↑ Monumental carved, winged altarpieces are the most ambitious artworks from the Middle Ages, incorporating the skills of painters, sculptors, and cabinetmakers. Those that are most notable for their artistic originality and masterly execution were produced in the southern German-speaking regions, including Austria and South Tirol, in the last decades of the Late Gothic period (roughly 1460 to 1525). By that time altarpieces had evolved from low, fixed panels to large wooden structures with rich architectural ornamentation. Paintings of the saints often adorned the movable wings, while carved reliefs or freestanding sculptures of scenes from the Gospels occupied the gilded, center shrine. Rainer Kahsnitz (texto), Achim Bunz (fotografías), Carved Splendor: Late Gothic Altarpieces in Southern Germany, Austria, and South Tirol, Getty Publications, 2006, ISBN 0-89236-853-5.: http://books.google.es/books/about/Carved_Splendor.html?id=8MlSiFzN_hgC&redir_esc=y
[122] ↑ * Kathrin Wagner, Rostocker Retabelkunst im 15. Jahrhundert, Verlag-Ludwig, 2011, ISBN 3-86935-004-0
[123] ↑ Flügelaltar "Perle von Brabant", Alte Pinakothek, München. Fuente citada en Meister der Perle von Brabant.
[124] ↑ Manfred Koller: Der Flügelaltar von Michael Pacher in St. Wolfgang. (Studien zu Denkmalschutz und Denkmalpflege Band 18). Wien, Köln, Weimar 1998, ISBN 3-205-98900-7. Fuente citada en Pacher-Altar.
[125] ↑ Es uno de los "siete retablos alemanes" seleccionados para su estudio por Arthur Burkhardt. Seven German Altars, F. Bruckmann, Munich, 1965: v. 1. The Herrenberg altar of Jörg Ratgeb. v. 2. The Freiburg altar of Hans Baldung. v. 3. The St. Florian altar of Albrecht Altdorfer. v. 4. The St. Wolfgang altar of Michael Pacher. v. 5. The Kefermarkt altar. v. 6. The Cracow altar of Veit Stoss. v. 7. The Isenheim altar of Matthias Grünewald.
[126] ↑ Burkhard, Arthur. The Cracow Altar of Veit Stoss. Munich, F. Bruckmann, 1972. Fuente citada en Altarpiece of Veit Stoss.
[127] ↑ Ulrike Krone-Balcke: Der Kefermarkter Altar –- sein Meister und seine Werkstatt, Deutscher Kunstverlag, München 1999. Fuente citada en Kefermarkter Flügelaltar.
[128] ↑ Iris Kalden-Rosenfeld: Tilman Riemenschneider und seine Werkstatt. Mit einem Katalog der allgemein als Arbeiten Riemenschneiders und seiner Werkstatt akzeptierten Werke (= Die Blauen Bücher). 3. aktualisierte und erweiterte Auflage. Langewiesche, Königstein im Taunus 2006, ISBN 3-7845-3224-1. Fuente citada en Stadtkirche St. Jakob (Rothenburg ob der Tauber).
[129] ↑ Der Detwanger Altar von Tilman Riemenschneider. Beitr. v. Jürgen Denker, Eike u. Karin Oellermann, Ewald M.Vetter. Wiesbaden 1996. Fuente citada en de:St. Peter und Paul (Detwang).
[130] ↑ Poensgen: Der Windsheimer Zwölfbotenaltar von Tilman Riemenschneider im Kurpfälzischen Museum zu Heidelberg, 7. Auflage 1974. Fuente citada en de:Zwölfbotenaltar.
[131] ↑ Sabine Kutterolf-Ammon: Die Herrgottskirche zu Creglingen. Fuente citada en de:Herrgottskirche (Creglingen).
[132] ↑ También son conocidos con el mismo nombre muchos otros retablos con el tema de San Sebastián y su martirio (véase el amplio tratamiento del tema en la historia de la pintura): en alemán (Sebastianaltar), otros retablos de Holbein el Viejo (1516) -Alte Pinakoteke, Múnich- o de Hans Baldung (1507); -EPPH- en español (retablo de San Sebastián), el de la iglesia de la Asunción de Montesa, del círculo de Juan de Juanes (1559) -La luz de las imágenes Archivado el 16 de septiembre de 2011 en Wayback Machine.- y al de la colegiata de Santa María Mayor de Bolea, de Gil de Brabante (1503) -colegiatadebolea.es-, etc.; en italiano (pala di San Sebastiano), obras de Giovanni del Biondo, Andrea da Murano -en Trebaseleghe-, Dosso Dossi -catedral de Módena, unesco.mo.it-.: https://commons.wikimedia.org/wiki/Category:Martyrdom_of_Saint_Sebastian
[133] ↑ Baumgartner, Rupert (2001). St. Florian's Collegiate Church. Ried im Innkreis: Kunstverlag Hofstetter. Fuente citada en St. Florian Monastery.
[138] ↑ S. van Bellingen: De Meester van 1518. In: De Brabantse Folklore 251 (1986), S.236-241. Fuente citada en Meister von 1518.
[139] ↑ Literatur über St.-Marien-Kirche (Waase) in der Landesbibliographie MV. Fuente citada en St.-Marien-Kirche (Waase).
[140] ↑ Georg Dehio: Handbuch der Deutschen Kunstdenkmäler, Nordrhein-Westfalen. Band 2, Westfalen, Deutscher Kunstverlag, München 1969. Fuente citada en St. Lambertus (Affeln).
[143] ↑ BARAUT, Cebrià - Santa Maria del Miracle - Publicacions de l'Abadia de Montserrat, 2001 - ISBN 84-8415-329-0. Fuente citada en Retaule de la capella del Santíssim (El Miracle).
[144] ↑ VV. AA., Las edades del Hombre: Memorias y esplendores, Fundación Las Edades del Hombre, 1999 (catálogo de la exposición).
[148] ↑ Virgen de la Antigua (Diego de Castillejo. Retablo de la Visitación. Oratorio de los Reyes Católicos (Francisco Niculoso Pisano, 1504).: http://www.retabloceramico.net/articulo0490.htm
[158] ↑ Martín Jiménez, op. cit. páginas 98 y ss. y 170 y ss. Adrián Álvarez y su discípulo Pedro de Torres son dos escultores de origen vallisoletano que se encuentran activos a fines del siglo XVI y comienzos del siglo XVII. En la documentación que se conserva sobre ellos se refleja que en muchas ocasiones policroman sus propias tallas. Trabajan en un círculo cercano a los sucesores de Juni, realizando obras para San Benito como el retablo de la capilla del Obispo Valdivieso (Policromías III).: http://museoescultura.blogspot.com.es/2012/06/serie-policromias-iii.html
[166] ↑ Notice no PA00086111, base Mérimée, ministère français de la Culture. Fuente citada en Église Saint-Nicolas-des-Champs.
[167] ↑ Base Mérimée, ministère français de la Culture. Fuente citada en Église Saint-Jean-du-Marché de Troyes.
[168] ↑ Françoise Reynier, Le mobilier du XVIIe siècle dans la cathédrale de Cavaillon, In Situ, revue du patrimoine, année 2001, no 1. Fuente citada en Cathédrale Notre-Dame-et-Saint-Véran de Cavaillon.
[169] ↑ [Jean-Pierre Aniel, Les maisons de Chartreux : des origines à la Chartreuse de Pavie, Librairie Droz, 1983. Fuente citada en Chartreuse de Vauclaire].
[170] ↑ Posch, Waldemar, St. Michael in Wien (Geschichte). Fuente citada en St. Michael's Church, Vienna.
[171] ↑ Maria Plain - Ein Ort der Stille und Inspiration. Fuente citada en Maria Plain.
[172] ↑ Neil Wilson, Mark Baker. Prague. 9.º edición. Lonely Planet, 2010. ISBN 978-1-74179-668-1. Page 9. Fuente citada en St. Nicholas Church (Malá Strana).
[173] ↑ Hugo Schnell: Bernbeuren/OBB im Pfaffenwinkel. Schnell & Steiner, 1999, ISBN 3-7954-4187-0. Fuente citada en Pfarrkirche St. Nikolaus (Bernbeuren).
[174] ↑ Eckhardt: Christian Precht - Ein Hamburger Bildhauer. 1987, S. 7. Fuente citada en Christian Precht.
[175] ↑ Hendrik Bärnighausen: Schloss Weesenstein. Reihe Sachsens schönste Schlösser, Burgen und Gärten Nr. 17. Edition Leipzig. Leipzig 2003. ISBN 3-361-00527-2. Fuente citada en Schloss Weesenstein y Einhart Grotegut, Lutz Henning: Weesenstein: 700 Jahre Schloßgeschichte. Verlag der Kunst, Dresden 1995, ISBN 3-364-00317-3. Fuente citada en de:Weesenstein.
[176] ↑ Thomas Simon Jöllemann.
[177] ↑ Richard Bauer, Gabriele Dischinger: München, Asamkirche (Schnell & Steiner Kleine Kunstführer, 1277). Regensburg, 2005, ISBN 3-7954-4028-9. Fuente citada en Asamkirche (München).
[178] ↑ Véase, por ejemplo, para Andalucía, José Luis Romero, La imagen edificada: Los retablos barrocos - Andalucía barroca, Junta de Andalucía, 2009; para un entorno más restringido, como la provincia de Gerona, Laurence Gallinaro, Retables baroques de la province de Gerone (1580-1777). Etudes iconologique et socioculturelle (modes de production, diffusion et réception), tesis en la Universidad Autónoma de Barcelona, 22-10-2005.: http://www.juntadeandalucia.es/culturaydeporte/web/html/sites/consejeria/areas/bbcc/documentos/AB/Iti_retablos.pdf
[179] ↑ Leopoldo Fernández Gasalla, En torno a los orígenes de Miguel de Romay ya la escultura compostelana en el tránsito de los siglos XVII al XVIII (1670-1705) Archivado el 7 de julio de 2019 en Wayback Machine., en Cuadernos de estudios gallegos, n.º 108, CSIC, 1996.: http://estudiosgallegos.revistas.csic.es/index.php/estudiosgallegos/article/viewArticle/235
[186] ↑ Grupo dos Amigos de Olivença. Fuente citada en pt:Igreja de Santa Maria do Castelo (Olivença).
[187] ↑ La retablística ofrece en este templo ejemplos magníficos, entre los que cabe destacar el barroco de talla dorada (1723) característico del reinado de D. João V y el espectacular Árbol de Jessé, el mayor que todavía se conserva de los que todavía quedan. Se trata del más impresionante retablo de Olivenza. En madera tallada y policromada se representa el árbol genealógico de María y Jesús con una altura de 10,29m, motivo inspirado en la profecía de Isaías: 'brotará un retoño del tronco de Jessé', conocido en la Historia del Arte desde el s. XII, abandonado en Europa como consecuencia de la Reforma y retomado en la península ibérica con más fuerza durante la contrarreforma. Bajo sus raíces descansa Jessé, el padre de David. De él, parte un tronco robusto con seis ramas sobre las que aparecen las figuras, en este caso no identificadas, de doce reyes de la casa de Judá. El árbol se remata con una mandorla que encierra la imagen de María y el Niño. Si la fecha y firma que aparecen en su base, 'Reno 1774', corresponden a su ejecución, se trataría de los ejemplares tardíos, pues las fechas de florecimiento de este tipo de retablo corresponden a finales del siglo XVI y principios del siglo XVII. V Iglesia de Santa María del Castillo en Olivenza Archivado el 21 de julio de 2012 en Wayback Machine.: http://www.olivenca.org/visitaVirtual_13.htm
[189] ↑ Júlio Parra. Azulejos. Painéis do Século XVI ao Século XX. Lisboa: Santa Casa de Misericórdia, 1994. Fuente citada en Igreja de São Roque (Lisboa).
[190] ↑ Museo Sao Roque - Santa Casa Misericórdia da Lisboa Archivado el 29 de junio de 2018 en Wayback Machine. (web oficial). Véase también Santa Casa de Misericórdia (artículo sobre la institución caritativa, fundada en 1498).: http://www.museu-saoroque.com/pt/Home.aspx
[191] ↑ Base de dados do IGESPAR. Fuente citada en Convento de Santa Clara-a-Nova.
[196] ↑ Flexor, Maria Helena Ochi. "Catedral Basílica". In: Igrejas e Conventos da Bahia. Série Roteiros do Patrimônio, vol. II. Brasília: Iphan / Programa Monumenta, 2010, pp. 11-36. Fuente citada en Catedral-Basílica Primacial de São Salvador.
[197] ↑ Flexor, Maria Helena Ochi. Igrejas e Conventos da Bahia. Série Roteiros do Patrimônio, vol. 2. Iphan / Programa Monumenta, 2001, pp. 36-69. Fuente citada en Igreja e Convento de São Francisco (Salvador).
[203] ↑ Offizielle Webseite der Kölner Gemeinde St. Engelbert. Fuente citada en St. Engelbert (Köln).
[204] ↑ El retablo del templo - Santuario de Torreciudad. Imagen del autor trabajando en un modelo del retablo.: http://www.torreciudad.org/retablo/
From the end of the century they were the most relevant elements in the interior decoration of churches, both in northern Europe (Germany and Flanders; a specific typology is called "Antwerp altarpieces")"[5]) and in southern Europe (Italy, and especially in the Christian kingdoms of the Iberian Peninsula, where altarpieces reached an extraordinary development, later spreading throughout the Spanish-Portuguese colonies in America and Asia).[6] The preference for this artistic form meant that in many cases they were hidden behind the previous Romanesque fresco altarpieces.[7].
Architects, sculptors, stewers, gilders, carpenters and carvers collaborated on those of great complexity, so their elaboration was an expensive and slow process, especially in the larger specimens. Their state of conservation has depended on multiple factors, among which are the well-intentioned attacks to which they have been subjected for centuries (inadequate cleaning and "beautification"), looting or destruction in contexts of war or conflict of very different types, and deterioration due to adverse physical conditions. Consequently, its restoration is equally problematic and specialized.[8].
The altarpieces usually adopt a geometric arrangement, dividing into «bodies&action=edit&redlink=1 "Body (architecture) (not yet written)")» (horizontal sections, separated by moldings) and «streets&action=edit&redlink=1 "Street (architecture) (not yet written)")» (vertical sections, separated by pilasters or columns "Column (architecture)")). The units formed by this grid of bodies and streets are called "encasamentos")",[9] and usually house sculptural representations or paintings. The set of architectural elements that frame and divide the altarpiece is called "mazonería")".[10] There are also examples that are organized in a simpler way, with a single scene focusing the attention.[11].
The altarpiece is usually raised on a plinth "Plinth (construction)") to avoid moisture from the ground. The lower part that rests on the plinth is called a bench or predella, and is arranged as a horizontal section like a frieze that in turn can be divided into compartments and decorated. The element that finishes the entire structure can be a semicircular lunette or a "spine" or attic; As corresponds to its dominant position, it is usually reserved for the representation of the Eternal Father or a Calvary. The entire set is sometimes protected with a molding called a dust cover "Dust cover (architecture)"), very common in Gothic altarpieces. The articulated altarpieces (a common characteristic in the notable Flemish altarpieces that achieved great influence in Italy - Portinari triptych - and in Spain - Spanish-Flemish style -)[12] allowed two layouts to be presented: open and closed, although sometimes the complexity is greater (Isenheim altar). The "closed" position of Flemish altarpieces usually contained grisaille (a pictorial representation that simulates stone sculptures through trompe l'oeil). The articulation of the altarpieces gave rise to the German name flügelaltar (literally "winged altar").
Beginning in the 19th century, the tabernacle or tabernacle (place where sacred forms are kept) became relevant, gradually centralizing the space of the altarpiece until it became, at times, its main element, even adopting free-standing and independent forms.[13].
The Protestant Reformation of the 19th century, characterized by a marked aniconism, which in some cases led to iconoclasm (with greater intensity in Anabaptism and Calvinism, less in Lutheranism, minimal in Anglicanism, where the use of altarpieces is explicitly authorized[14]), practically eliminated the use of altarpieces and sacred images in the territories that were the protagonists of the movement (Northern Germany, Switzerland, Holland, England, Scandinavia). In some cases magnificent examples from previous eras disappeared; while the imagery and altarpiece tradition was substantially limited to Catholic countries, where it even intensified as a consequence of the Counter-Reformation.[15].
Altarpiece as a serialized narrative representation and as a stage
In the performing arts, "retablo" is the small stage on which the puppet theater is performed. Significantly, the DRAE derives this use ("small stage in which an action was represented using figurines or puppets", meaning 3) from its peculiar way of defining pictorial-sculptural altarpieces, where it places emphasis on their capacity for serialized narrative representation ("set or collection of painted or carved figures, which represent a story or event in series", meaning 1) rather than on their decorative capacity ("work of architecture, made of stone, wood or other material, which makes up the decoration of an altar", meaning 2).[16] The so-called "hallelujahs" were also a similar literary form, associated with popular representations (such as, for example, their recitation by blind people or other types of beggars, while pointing out the drawings that illustrate what was recited in the form of vignettes, a precedent for comics).
Cervantes refers to this theatrical form on two occasions: in The altarpiece of wonders (entremés of 1615) and in chapters XXV and XXVI of the second part of Don Quixote de la Mancha (published the same year).
Manuel de Falla composed El altarpiece de Maese Pedro (1923) about the quixotic episode.
The name "Spanish theatrical altarpiece" refers not so much to a dramatic genre but to the way theater itself was conceived by the authors of classical Spanish theater of the Golden Age (particularly Calderón, La vida esdream, El gran Teatro del mundo).[17].
The component of "pretense of reality" that theatrical altarpieces have in Cervantes or Calderon's works ("deceive with the truth" and "teach with deception") is also present in the role expected of ecclesiastical altarpieces (defined as "illusory machines") in "control over the sensitivity of the faithful", configuring "the theatrical scene of liturgy, dogma, piety and Catholic devotion."[18] Such condition makes them particularly useful not only for iconographic and iconological studies, but for the history of mentalities and anthropology.[19].
Precedents
The altar was, from the first moments of Christianity, the central element of the liturgy. At first its arrangement in the temple was free and central, with the faithful located around it, thus remembering the banquet of the Last Supper. However, with the strengthening of the authority of the clergy, the altars were moved to the presbytery "Presbytery (architecture)"), an elevated place inaccessible to the faithful, close to the wall of the head of the church (apse), and which in certain types of church was even hidden with curtains, bars, or the iconostasis. The officiant performed most of the ritual with his back to the faithful.
• - Church of the monastery of San Miguel de Escalada (Mozarabic art, Spain, century). The altar, in the apse, is behind a gallery of arches that separate it from the central nave.
• - Iconostasis of the Visoki Dechani monastery church (Byzantine art, Serbia, 19th century).
Early Christian temples decorated their interiors with mural paintings (Dura Europos chapel) and certain objects for liturgical use, such as reliquaries, caskets, ivory diptychs or small statues. Its primitive austerity was compensated by the luxurious donations offered by the potentates (Guarrazar treasure). In the Pre-Romanesque, images of the crucified Christ began to spread, which were placed hanging from the walls or the ceiling, and which could be pictorial or sculptural (Crucified of Gero"), Cologne Cathedral), or sometimes dispensing with figuration to take the form of a jewel (crux gemmata"), such as the Victory Cross of the Holy Chamber of Oviedo). The decoration of the antependium "Frontal (architecture)") (pallium altaris, frontal or front of the altar) also took on great relevance, derived from the curtains that covered the urns with relics arranged under the altar table (whose color had to vary to correspond with the liturgical color of the party or office of the day) and which were enriched with all types of ornaments in precious materials.[20] The hypothesis has been proposed that, Evolutionarily, the altarpiece derived from the antependium.[21].
The forms of the later altarpiece also seem to prefigure some structures derived from the classic aedicula (aedicules -"temples" or "small buildings"-), especially the ciborium "Ciborio (architecture)") or ciborio (a fixed canopy or pallium "Palio (canopy)") supported by four columns, later called canopy or canopy), a common element in early Christian churches, which protected and gave relevance visual to the altars, reliquaries and tombs of saints and martyrs, which usually coincided in the same place.[22].
• - Ciborio of San Ambrosio de Milan (the columns, from the century, the canopy, later (between the and the); the altar"), signed by Vuolvino"), between the year 824 and 860.[23].
• - Roman ciborium from the 1st century.
• - Ciborio of Saint John Lateran, by Arnolfo di Cambio (19th century).
The internal decoration of the churches was adapted to their modest dimensions in most cases, and the emphasis was placed on the parietal decoration, either through brightly colored frescoes, or with mosaics enriched with gold tesserae (very common in Byzantine art), so that the images stood out in generally dark and small interiors. The elements that were placed on the altar were almost always movable (caskets "Arqueta (furniture)"), diptychs, icons "Icon (religion)")) and their sumptuousness in terms of materials also meant a small size. The Romanesque did not represent a great change in this simple system of interior decoration of the temples, with a predominance of frescoes in the apses (Romanesque churches of the Bohí Valley, Saint-Savin-sur-Gartempe Abbey), the figures of Christ in Majesty and Virgin in Majesty and the altar frontals, which became painted, carved or embossed decoration supports, often enriched with enamels or metalwork.[24] Although the shapes and materials were already very similar to those of the later altarpieces, the arrangement of the piece was exactly the opposite (in front of the altar and under it, instead of behind and in an elevated position). In fact, some have been reused as altarpieces, such as that of the sanctuary of San Miguel de Aralar.[25].
• - Altar front of the hermitage of San Quirce de Durro[26].
• - Altar frontal of Santa María de Tahull.
• - Altar frontal of the Seo of Urgel, called "of the apostles" (the altar frontal of Ix is similar).
• - Altar front of the Aachen Cathedral.
• - Altar frontal of Basel Cathedral.
• - Current position of the altar frontal of San Miguel de Aralar, reused as an altarpiece.
gothic altarpiece
Contenido
El esplendor del monacato, la pujanza de las ciudades y el crecimiento poblacional y económico que se dio en Europa a partir del siglo hicieron que los templos tuvieran que adaptarse a fin de dar cabida a un mayor número de fieles, satisfacer los deseos de patrocinio de la élite y mostrar la riqueza de una sociedad en la que la religión regía todos los aspectos de la vida. A partir del siglo surge el arte gótico; la arquitectura adquiere dimensiones colosales y una gran complejidad constructiva, y tanto pintura como escultura, a demanda de una sociedad amante del lujo y la ostentación, cobran un gran desarrollo. Otro factor de cambio fue la aparición de las órdenes mendicantes, que propugnaban una religiosidad más emotiva y cercana al fiel, a la vez que se preocupaban por la enseñanza y la doctrina.
Como en el románico, grandes ciclos narrativos se seguían esculpiendo en las portadas de iglesias y catedrales; pero la decoración interior va a sufrir una mayor transformación: los vitrales, que ocupan los grandes vanos abiertos en los muros gracias a las nuevas técnicas constructivas, se ilustran con representaciones sagradas; y la nueva amplitud y luminosidad de los templos permite la mejor contemplación de las imágenes repartidas por las numerosas naves y capillas, que cumplían la función de espacios corporativos para las instituciones que las encargaban (gremios, cofradías y familias aristocráticas), convertidas en mecenas artísticos.
Las nuevas prácticas piadosas requerían un número cada vez mayor de objetos sagrados cada vez más suntuosos y visibles. Se intensificó el culto a las reliquias y a las imágenes de santos, consideradas un instrumento valioso para la evangelización.
Es en ese contexto donde surgieron los primeros retablos, primero como tablas rectangulares con imágenes de modesto tamaño (como el retablo de Westminster"), de 1x3 metros, o el retablo de Bernabé, de 1x1,5 metros), a veces a juego con el frontal de altar (como sucede en uno de los ejemplos más antiguos conservados: el de la iglesia del monasterio de Santa María de Mave, Palencia), luego articuladas y abatibles, de forma cada vez más compleja (dípticos, trípticos, polípticos como el llamado Políptico de Gante), o bien realizados con materiales preciosos (los de la catedral de Gerona, el altare argenteo di San Jacopo")[29] de la catedral de Pistoia[30] o la Pala d'Oro de la basílica de San Marcos de Venecia).[31][32].
En un primer momento, los retablos no abandonaron del todo su carácter mueble o plegable, y es posible que muchos fueran utilizados en procesiones y otro tipo de actos públicos que exigían su trasladado fuera del ámbito del templo, como sucedía con los dípticos devocionales o los iconos "Icono (religión)") de carácter doméstico y privado. Sin embargo, poco a poco los retablos fueron haciéndose más grandes y estables, toda vez que debían destacar casi siempre en las dimensiones colosales de abadías o catedrales. La retablística se consolidó en toda la cristiandad latina de la Baja Edad Media (un vasto espacio —de Islandia a Chipre— recorrido por múltiples conexiones e influencias mutuas y variantes locales, de la pala italiana al flügelaltar centroeuropeo)[33] como un género artístico pujante y creativo, que contaba con importantes artistas especializados en las distintas especialidades necesarias para su diseño y ejecución.
• - La llamada Pala d'oro de la catedral de San Marcos (Venecia). Encargada a orfebres bizantinos en el siglo , fue ampliada en los siglos posteriores.
• - Detalle del retablo de Westminster") (ca. 1270).[34].
• - El altare argenteo de la catedral de San Zenón (Pistoia). Encargada en 1287, fue objeto de sucesivas ampliaciones hasta 1456.
• - El retablo de Santa María de Mave") (arriba -abajo, el frente de altar-), actualmente conservado en la capilla de San Nicolás de la catedral de Burgos. Su datación es muy imprecisa (siglos -).[35].
• - Virgen con el Niño, inicialmente parte del mismo retablo, que permanece en la iglesia del monasterio de Santa María de Mave.[36].
El material más empleado fue la madera, casi siempre dorada y policromada, aunque no faltan ejemplos en madera vista u otros materiales (plata o todo tipo de piedras). Las variantes regionales hacen difícil una clasificación uniforme; por ejemplo, en Aragón, desde el siglo tomaron una peculiar forma de expositor eucarístico, realizados casi siempre en alabastro. El retablo gótico suele presentar una apariencia marcadamente geométrica, con los encasamentos linealmente dispuestos y ocupados por pinturas o esculturas. Muchos de ellos toman la forma del ábside en el que se sitúan (como el mayor de la catedral Vieja de Salamanca), aunque es más común el esquema cuadrangular con un saliente en la parte superior a modo de remate (la espina o ático "Ático (arquitectura)")), que inicialmente tomaba la forma de uno o varios gabletes. El contorno del retablo solía estar recorrido por una moldura muy resaltada (el guardapolvo "Guardapolvo (arquitectura)")). Se utilizaban abundantemente los elementos decorativos de la arquitectura gótica, enmarcando las figuras (fueran pinturas, relieves o imágenes de bulto) mediante doseletes o chambranas,[37] y pináculos, cresterías, florones y otros elementos ocupando el resto del espacio, como resultado del horror vacui. Fue habitual también la introducción de elementos heráldicos o incluso de retratos de los comitentes (habitualmente, en posición orante). Con el tiempo se fue estableciendo la separación entre el cuerpo del retablo propiamente dicho y el banco o predela sobre el que se apoya; y dentro de aquel, la configuración en cuerpos y calles. Los retablos ganaron en dimensiones, complejidad y lujo, hasta convertirse en enormes estructuras profusamente decoradas. Resultaron idóneos para la narración de los ciclos de la vida de Cristo, la Virgen o el santo a quien el altar se dedicaba. La presencia de numerosas imágenes, advocaciones o reliquias dentro de un mismo templo justificó la multiplicación de capillas, altares y retablos. El de la capilla mayor o presbiterio, foco de atracción principal, se denomina «retablo mayor», mientras que los situados a lo largo de muros laterales, trasepto y girola reciben la denominación de «retablos laterales» o «retablos menores».
Facades-altarpiece
The altarpiece of the centuries reached an extraordinary development in the Christian kingdoms of the Iberian Peninsula, where to the general characteristics of the Gothic style were added the specific characteristics of both Flemish Gothic (commercial and political relations with Flanders were especially intense) and Italian Gothic[38] on the other, and the local influences of Mudejar art. The architecture itself reflects the importance that the altarpieces had achieved, by projecting the conventions of their design on the main facades of the temples (and even other types of buildings), with the typology called "facade-altarpiece" (not to be confused with a confluent concept, that of facade-curtain)),[39] which was continued in Spanish architecture of the Renaissance") and the Baroque and colonial architecture of America. For the new conception of the covers "Portada (architecture)"), the key moment was the overcoming of the classical Romanesque and Gothic conception of the flared covers of archivolts and tympanums "Tímpano (architecture)") with sculptural decoration, which was substantially altered in the Spanish-Flemish architecture of the second half of the century.[40][41].
Gothic altarpieces in the Iberian Peninsula
Among the surviving examples, few are preserved in their original location. Many of them have been transferred to diocesan and provincial museums, and some of the most important have become part of the collections of the National Museum of Sculpture (Valladolid), the National Museum of Art of Catalonia (Barcelona) or the Prado Museum (Madrid). Very notable have been the temporary exhibitions of the cycle The Ages of Man. As a result of the plundering of Spanish artistic heritage (very intense between 1808 and the middle of the century) many Gothic altarpieces have ended up in private collections and foreign museums. Previously, it was common for them to have suffered all kinds of alterations when they were dismantled for different reasons, frequently as a consequence of their replacement by altarpieces from the Renaissance or Baroque period, and for their reuse in environments other than those for which they were initially designed. All of this has meant that most of them are dispersed or have been totally or partially lost. The documentary sources written for these periods (relatively abundant in Spanish archives compared to other cases) make it possible to reconstruct the history of a good number of altarpieces, but it is most likely that for the vast majority there will not even be any news of their existence. They stand out, in chronological order:[42].
• - The main altarpiece of the Cathedral of Gerona, made of silver, forming twenty-six compartments with relief figures, from the .[43] century.
• - The old main altarpiece of the Barcelona Cathedral, with a fundamentally architectural structure (1356-1367, modified over the centuries and -its central image, an apostle Santiago, was added when the altarpiece was moved to the church of San Jaume in the same city, in 1971-).[44].
• - The altarpiece of San Cristóbal") (19th century), from a Riojan monastery.[45].
• - The altarpiece of Santo Domingo de Tamarite de Litera") (second third of the century).[46].
• - Those due to the Master of Estimariu or Estopiñán (active in the Crown of Aragon between 1360 and 1380, whose identity and origin is the subject of debate), such as the altarpiece of San Vicente "Altarpiece of San Vicente (Estopiñán)") and the tables of Santa Lucía").[47].
• - Those due to Andrés Marzal de Sax (Marçal de Sas, probably originally from Saxony), introducer of Central European international Gothic in Spain (active in Valencia between 1393 and 1410). The Great Altarpiece of Saint George painted for the Brotherhood of Centenar de la Ploma is traditionally attributed to him, although the attribution is currently disputed, and it should be assigned to a Master of Centenar").[48]
• - Those due to Pere Serra, such as the altarpiece of the Holy Spirit from the Seu of Manresa (ca. 1394) and the altarpiece of All Saints from the Monastery of Sant Cugat (1375).[49].
Gothic altarpieces in central-western Europe
The areas politically divided between the kingdom of France, the Burgundian State and the principalities of the Holy German Empire developed an important production of Gothic altarpieces in the last centuries of the Middle Ages, stylistically labeled with the different names of the late Gothic; notably the international Gothic, characterized by refinement, elegance and sentimentality, slender proportions, sinuous lines and the nuanced color that allows shading and volume to be given to the figures (painters such as Conrad Soest, Master Francke, Stefan Lochner, Henri Bellechose, Jean Malouel, Jean de Beaumetz, etc.), with influence also in more remote areas of Central Europe, such as Italy or Spain.[70].
Within that style, in the Bohemia of the century the work of two anonymous masters stood out, authors respectively of the Altarpiece of Vyšší Brod") or of Hohenfurth"),[71] which represents the childhood of Christ (Cistercian convent of Vyšší Brod or Hohenfurth"), of the so-called Master of Vyšší Brod") or of Hohenfurth"), ca. 1350 - today dismantled -) and of the Třeboň Altarpiece") or of Wittingau") (convent of the Augustinians of Prague, of the so-called Master of Třeboň or of Wittingau, ca. 1380-1390. In the same area, in the century the so-called Master of the Garden of Paradise of Frankfurt or Master of the Upper Rhine stood out.
From the middle of the century, the evolution of artistic forms was marked by the development of Flemish and Italian painting in the new context of the Renaissance, but Gothic survived well into the century.
• - French Gothic altarpieces.
• - Altarpiece of the Virgin of the Blessed Sacrament in Saint-Georges de Haguenau").[72].
• - Chapel of Our Lady of Saint-Sulpice de Fougères").[73].
• - Chapel of the Nativity of Saint-Vulfran de Abbeville").[74].
• - Grabow Altarpiece"), by Master Bertram (1379).[75].
• - Altarpiece of the Crucifixion"), by Jacques de Baerze[76] (1390), commissioned by Philip the Bold for the charterhouse of Champmol.[77].
• - Altarpiece of Saint Barbara, by Master Francke (1410-1415).
• - Tables from the left wing of the altarpiece of the life of Saint John the Baptist, by the Master of the Garden of Paradise (1410-1420).
• - Altarpiece with scenes of the passion in Saint-Clair-Saint-Léger de Souppes-sur-Loing").[78].
• - Altarpiece from southern Germany (1360-1370), currently in the church of Santiago in Nuremberg.
• - Sculptural triptych (open) in the church of Sogn Gieri") (Switzerland, century).[79].
• - Altarpiece from the Walpurgiskirche")[80] by Alsfeld.
• - Altarpiece from the Marienkirche of Gelnhausen.[81].
Italian altarpiece from Gothic to Renaissance
Since the beginning of the century, a new aesthetic trend that takes Greco-Latin Antiquity as a source of inspiration triumphs in Europe: the Renaissance. After initially imposing itself on the Italian peninsula, the new artistic style spread rapidly, reaching its maximum splendor in the middle of the century. The Renaissance brought with it a revision of Gothic forms, which were replaced by elements of a classicist nature.
In Italy, the altarpiece (called there pala) had never acquired large proportions, since the tradition of fresco paintings in churches was maintained; although Giotto and Simone Martini, renowned fresco artists, also created outstanding polyptychs for altars. Almost all of Duccio's work is done in pale. Also notable is l'Altare di argento"),[86] the silver altarpiece from the Baptistery of Florence (central compartments, by Betto di Geri") and Leonardo di Giovanni"), 1366 -the four lateral reliefs are by sculptors from the Quattrocento: Pollaiuolo, Verrocchio and two other goldsmiths-).[87].
• - Reconstruction of the original appearance of the Maestà of the Cathedral of Siena, by Duccio, 1308-1311.
• - The so-called "triptych")" or "Stefaneschi polyptych")",[88] by Giotto, ca. 1320 (anterior view -straight-).
• - Idem (rear view -verso-).
• - The so-called "polyptych of Saint Catherine of Alexandria")",[89] by Simone Martini, 1320.
• - Triptych of the Virgin with the Child and Saints Peter and Paul"),[90] from the Pieve")[91] of San Giovanni d'Asso, by Ugolino di Nerio (1320-1325).
• - Annunciation between Saints Ansano and Margaret, by Simoni Martini, 1333.
• - Reconstruction of the Pala della beata Umiltà") ("altarpiece of the blessed Humility")"),[92] by Pietro Lorenzetti, ca. 1341.
• - Pala della Crocifissione")[93] ("altarpiece of the Crucifixion")"), by Jacopo di Cione,[94] Nardo di Cione[95] and his workshop (ca. 1368).
• - Reconstruction of the original appearance of the polyptych of San Pier Maggiore "Church of Saint Peter the Great (Florence)"), by Jacopo di Cione (1370-1371).
With the emergence of the new style, the architectural structure of the altarpiece becomes clearer and simpler (you can see how some altarpieces by Fra Angelico exemplify the evolution from one structure to another).
• - Altarpieces by Fra Angelico.
• - The so-called "triptych of San Pedro Mártir")"[96] (1428-1429).
• - Annunciation "The Annunciation (Fra Angelico, Madrid)"), painted as pala d'altare for the convent of Santo Domingo de Fiesole")[97] (1430-1435).
• - The so-called tabernacolo dei Linaioli")[98] (1432-1433).
• - The so-called "Cortona triptych")",[99] (1436-1437).
• - The so-called pala di Perugia"),[100] (1438).
• - Reconstruction of the so-called pala di San Marco&action=edit&redlink=1 "Pala di San Marco (Fra Angelico) (not yet written)"),[101] (1440).
• - The so-called pala di Bosco ai Frati"),[102] (1450-1452).
New techniques emerged, such as enamelled terracotta (Della Robbia brothers), while the use of marble, bronze or granite became widespread as opposed to polychrome wood. The typically Renaissance decorative elements, such as the grotesque, candelieri, the vegetal scrolls, the putti, the tondo or clypeus, or the flameros, come to ornament the new structures, formed by pilasters, columns or semi-columns, friezes and cornices, all with a clear inspiration in classical antiquity. Some altarpieces are integrated into the architectural space for which they have been designed, with trompe-l'oeil effects. The pagan or profane influence also ends up transferring to religious images. All these elements will soon go beyond the scope of the Italian peninsula and be exported to the rest of European territories.[105].
• - The so-called Polyptych of Mercy, by Piero della Francesca, (1445-1462).
• - The so-called Pala di San Zeno or altarpiece of San Zeno, by Andrea Mantegna, 1457-1460.
• - The so-called pala di Pesaro"),[106] by Giovanni Bellini (1471-1483).
• - The so-called Pala di San Marco&action=edit&redlink=1 "Pala di San Marco (Vivarini) (not yet written)"), by Bartolomeo Vivarini (1474). It should not be confused with Boticelli's homonymous.
• - Current assembly of the so-called "polyptych of Saint Peter",[107] by Perugino, ca. 1496. The original provision was more complex.
• - Adoration of the Magi, terracotta altarpiece by Andrea della Robbia (1500-1510).
• - Reconstruction of the so-called "Recanati polyptych",[108] by Lorenzo Lotto, ca. 1506.
• - The so-called pala di San Zaccaria, by Giovanni Bellini.
• - The so-called "Arcevia polyptych")",[109] by Luca Signorelli (1507).
• - Altarpiece of the church of Santa Corona")[110] (Vicenza), by Bartolomeo Montagna.[111].
Late Gothic Flemish altarpieces and Nordic Renaissance
In the area ambiguously called Flanders by historiography, the Burgundian State starred in a cultural splendor that Johan Huizinga described as Autumn of the Middle Ages; and which continued in the Modern Age under the Habsburgs. Like the highly appreciated Flemish tapestries, the Flemish altarpieces were exported throughout Europe, both the pictorial polyptychs (the Van Eyck, Van der Weyden, Van der Goes) and the sculptural ones, with complex architectural composition and motifs derived from international Gothic.[117] Some of them received commendable names (such as "the pearl of Brabant")" or "the miracle of Dortmund")»).[118].
In the kingdom of France, the work of sculptors such as Antoine Le Moiturier (altarpiece of the Last Judgment in the collegiate church of Saint Peter in Avignon),[119] of which only two angels remain),[120] and painters such as Jean Fouquet (the daring diptych for the funerary chapel of Agnès Sorel in Melun Cathedral) gained great fame.
In the Central European cities of Germanic culture, around the Rhine and the Danube, which witnessed the birth of the printing press, which had a spectacular impact on the dissemination of humanism and the transformation of culture in the final decades of the century and the first decades of the century, the work of painters such as Pacher, Dürer, Grünewald, Altdorfer, Ratgeb, Baldung, the Cranachs and the Holbeins stood out, which also developed in altarpieces. Alternatively, or integrated into the same altarpieces, the work of sculptors such as Veit Stoss, Nikolaus Gerhaert, Tilman Riemenschneider or Nicolas de Haguenau was developed. The forms evolved from fixed panels of modest dimensions to large, complex articulated structures with complex architectural ornamentation. The wings were usually dedicated to pictorial representations of the saints, while the central panel was reserved for evangelical scenes in bulk carvings.[121].
Starting in 1517, the impact of the Protestant Reformation was very notable, and as far as the altarpieces were concerned, it caused the destruction of many religious images; although there were also prominent Lutheran artists who continued to make altar pieces, such as the Cranachs.[122].
• - Triptych of the Annunciation or Mérode, by Robert Campin (1425-1430).
• - Polyptych of the Last Judgment (open), by Rogier van der Weyden (1440-1450).
• - Idem (closed).
• - Altarpiece of the Blessed Sacrament "The Last Supper (Dirk Bouts)"), by Dirk Bouts (1464-1467).
• - The altarpiece called "the pearl of Brabant")", ca. 1470.[123].
• - The so-called "Portinari triptych", by Hugo van der Goes (1476-1478).
• - The so-called Pacher-Altar"),[124] altarpiece of St. Wolfgang im Salzkammergut by Michael Pacher (1471).[125].
• - The so-called "altarpiece")" or "altar of the Dormition")" or Krakow"),[126] by Veit Stoss (1477-1489).
• - The so-called "altarpiece")" or "Kefermarkter altar")" (1490-1497).[127].
• - The so-called "altarpiece")" or "altar of the Holy Blood")" (Heiligblutaltar")),[128] by Tilman Riemenschneider (1501—1505). By the same author, or his circle, are the altarpiece in the church of Saints Peter and Paul in Detwang"),[129] the Zwölfbotenaltar")[130] and the Marienretabel from the Herrgottskirche")[131] in Creglingen.
• - Part of the panels of the so-called altarpiece") or "altar of Saint Sebastian")" (Sebastianaltar"))[132] of the monastery of Saint Florian")[133] (Sankt Florian"), Austria), by Altdorfer (1509-1519).[134].
• - Altarpiece of the main altar of Freiburg Cathedral, by Hans Baldung (1512-1516).
• - The so-called "altarpiece" or "altar of Isenheim" (1512-1516). Closed configuration, with Grünewald paintings.
• - Idem. First opening configuration (first center panels deployed).
• - The so-called "altarpiece")" or "Herrenberger altar")",[135] by Jerg Ratgeb (1518-1521).
• - The so-called "altarpiece" or "Oberried altar")", by Hans Holbein the Younger (1521-1522).
• - The so-called "altarpiece")" or "Schneeberger altar")" (Wolfgangskirche"), Schneeberg),[136] by Lucas Cranach the Elder, 1532–1539 (anterior view -recto-).
• - Idem (rear view -verso-).
The so-called "Antwerp altarpieces".
In the 2nd centuries, the fame of the so-called "Antwerp altarpieces"[5] spread throughout Europe. The commercial boom of the city of Antwerp had occurred especially from the decline of the city of Bruges "Bruges (Belgium)"), and suffered a terrible blow with the sack of Antwerp of 1576.
• - Antwerp altarpieces.
• - The so-called "Pruszcz polyptych")", ca. 1500.
• - Altarpiece of San Juan Bautista from the church of El Salvador in Valladolid, ca. 1500 (the bench was made by local artists).[137].
• - Altarpiece from the chapel of Santo Cristo in the convent of San Francisco in Valladolid, ca. 1515.
• - Altarpiece from the Marienkirche in Lübeck, by the so-called Master of 1518[138].
• - Altarpiece of Saints Cornelius and Cyprian from Kirrlach").
• - Altarpiece of Roskilde Cathedral.
• - Altarpiece from the Votivkirche in Vienna.
• - Altarpiece from the Marienkirche of Waase").[139].
• - The so-called "altarpiece of Philippa of Gelderland" in Pont-à-Mousson.
• - Altarpiece of Saint Lambert of Affeln")[140] (1525).
Spanish Renaissance altarpiece
Suele establecerse una periodización cronológica del Renacimiento en España entre el Alto y el Bajo Renacimiento español, aunque las etiquetas estilísticas son de uso problemático: "plateresco" se aplica a las producciones del primer tercio del siglo , caracterizadas por el horror vacui, que se comparaban con el trabajo de los plateros, y en el que se encuadran tanto los últimos maestros de tradición gótica o hispano-flamenca como la introducción de nuevos elementos de origen renacentista italiano; "manierista" se aplica al tercio central del siglo (aunque es un adjetivo que puede aplicarse tanto a los discípulos de las grandes figuras italianas de comienzos del siglo como al periodo post-tridentino y hasta el comienzo del siglo ); "romanista "Romanismo (arte)")" se aplica al tercio final del siglo, caracterizado por las formas sobrias de Gaspar Becerra y el gran proyecto escurialense.
plateresque altarpiece
In Spain, the Renaissance aesthetic took time to prevail, due to the roots of Gothic or Spanish-Flemish forms. At first, Italianate forms appear timidly in the altarpieces (just as they did in architecture), in the form of decorative details. Only later in the century did a new aesthetic take shape: the plateresque style.
The Plateresque altarpiece combines Gothic elements with others of Italian roots, characterized by its narrative character (reliefs or paintings) and the development of the tabernacle that adopts a central and prominent position. Plateresque altarpieces are generally very flat, configured using pilasters or semi-columns, with the novelty of the baluster as support. The decoration is usually stylized and small, in the form of grotesques, scallops "Venera (mollusk)"), heads of cherubs, angels, scrolls..., with new formal typologies appearing, such as circular reliefs or those made in stiacciato.
In the Crown of Castile are outstanding examples of Plateresque altarpiece:
• - the main altarpiece of the Palencia Cathedral, considered one of the first Renaissance altarpieces in Spain (contracted in 1504), work of Felipe Vigarny, Alejo de Vahía, Pedro de Guadalupe, Juan de Flandes and Juan de Valmaseda;[144].
• - the main altarpiece of the Royal Chapel of Granada, also the work of Felipe Vigarny, decorated with scenes of the conquest of Granada and praying statues of the Catholic Monarchs, by Diego de Siloé;[145].
• - the main altarpiece of the church of San Pelayo in Olivares de Duero (province of Valladolid);
• - the main altarpiece of the Convent of San Pablo in Palencia;.
• - the altarpiece of the chapel of La Piedad of the Church of San Miguel Arcángel (Oñate) "Iglesia de San Miguel Arcángel (Oñate)");.
• - the altarpiece of the church of El Salvador (Calzadilla de los Barros) "Iglesia del Salvador (Calzadilla de los Barros)"), by Antón de Madrid") (first third of the century).[146].
In the Crown of Aragon, simultaneously with the introduction of Italian Renaissance forms by Pedro Fernández de Murcia (altarpiece of Santa Elena in the cathedral of Gerona), the Gothic tradition of the alabaster altarpiece-exhibitor continued, adapting to the new aesthetics, highlighting in this area Damián Forment, to whom are owed:
• - the main altarpiece of the Basilica del Pilar in Zaragoza (1512-1518), in alabaster, with a Gothic structure and almost round reliefs;
• - the main altarpiece of the cathedral of Huesca (1520), made of alabaster, its body is a large triptych of three scenes showing the passion of Christ;.
• - the main altarpiece of the Poblet monastery, more Plateresque in character, with the characteristic flat scallops;.
• - the main altarpiece of the cathedral of Santo Domingo de la Calzada, made of gilded and polychrome wood, with exuberant decoration.
Also notable in the Aragonese altarpieces of this period was the work of Juan de Moreto, Juan de Salas "Juan de Salas (sculptor)") and Gabriel Yoly (altarpiece in the chapel of San Miguel in the cathedral of Jaca, main altarpiece in the cathedral of Teruel); continued in the central decades of the century by Cosme Damián Bas") (altarpieces from the Albarracín cathedral, some in non-polychrome wood).[147].
• - Spanish Plateresque altarpieces.
• - Main altarpiece of the Constable chapel. In the same place there are other notable altarpieces.
• - Main altarpiece of the church of the convent of San Pablo in Palencia.
• - Altarpiece of the chapel of the Piedad de San Miguel de Oñate "Church of San Miguel Arcángel (Oñate)").
• - Main altarpiece of the Basilica del Pilar, by Damián Forment (1512-1518).
• - Main altarpiece of the Palencia cathedral.
• - Main altarpiece of the Teruel cathedral.
• - Altarpiece of San Miguel in the Jaca Cathedral (other notable altarpieces are preserved in the same temple).
• - Main altarpiece of the Huesca cathedral.
• - Altarpiece of the Virgen de los Marantes in the chapel of the Admiral's Room of the Real Alcázar of Seville, by Alejo Fernández (1531-1536). The building has other chapels with notable altarpieces.[148].
• - Altarpiece of the Virgin of Good Counsel in the chapel of San Bartolomé of the cathedral of Santiago de Compostela, by Mateo Arnao") (1521).
• - Altarpiece of Don Fadrique of Portugal in the Cathedral of Sigüenza, by Alonso de Covarrubias, Francisco de Baeza"), Sebastián de Almonacid and Juan de Talavera (1520-1529).
Mannerist altarpiece
Starting in the 1530s, Mannerism, an evolution of 15th century classicism, invaded all European artistic fields. In Spain, the emergence of this style puts an end to the last remnants of the Gothic and imposed the validity of the Italianate style from that decade until practically the 19th century.
In the field of altarpieces, the Mannerist style produced brilliant performers, with masterpieces that would be greatly admired and imitated. The first of them was Alonso Berruguete, one of the most recognized Spanish sculptors of all time. His most ambitious work, the main altarpiece of the monastery of San Benito de Valladolid "Altarpiece of San Benito el Real (Valladolid)") (1527-1532), is today disintegrated into several parts, almost all of which are preserved in the National Museum of Sculpture in the same city. Berruguete's temperamental and unclassifiable art exhibits in this work some of the characteristics of Hispanic Mannerism, mixing typical elements of the most orthodox Renaissance (veneras, balusters, tondo reliefs) with a peculiar totally anti-classical dramatic sense, in which the forms are subjected to the general effect of expressiveness and movement.[150] Berruguete was quite prolific in his dedication to the altarpiece, and created an important workshop with disciples. such as Francisco Giralte (author of the altarpiece of the Bishop's Chapel "Capilla del Obispo (Madrid)") attached to the parish of San Andrés in Madrid) or Manuel Álvarez, responsible in part for the great diffusion and success of the Berruguetesque style.
The other great Mannerist master, belonging like Berruguete to the Valladolid focus, was Juan de Juni. Like the first, it cultivates the Italianate style from a very personal perspective. Many of Juni's masterpieces were in the field of the altarpiece; He managed to conceive his altarpiece creations as a unitary whole and not mere framework architectures, and he did not hesitate to alter and deform the principles of classicism for the sake of expressiveness. It is very striking that the Junesque images and reliefs seem to overflow the frame that contains them, which gives these works great visual power and greater proximity to the viewer, prefiguring certain baroque tendencies. Some of his best-known altarpieces are the largest one in the cathedral of Valladolid (commissioned from the artist for the church of Santa María la Antigua), that of the Alderete chapel in San Antolín de Tordesillas and that of the Benavente chapel in Santa María de Medina de Rioseco.
• - Mannerist altarpieces.
• - Altarpiece by Juan de Juni in the main chapel of the cathedral of Valladolid.
• - Altarpiece of Santa María de Mediavilla de Medina de Rioseco.
• - Image of San Benito de Nursia, carving from the central niche of the old altarpiece of San Benito el Real of Valladolid, by Alonso Berruguete (today dismantled and exhibited in pieces in the National Museum of Sculpture).[151].
Romanist altarpiece
In the middle of the century, the Council of Trent marks a caesura in religious experience and art in particular. The need for greater clarity and forcefulness in the transmission of the evangelical message means that certain mannerist formal excesses are tempered. Thus arose the style a la Romana or Romanism "Romanism (art)"), which will be predominant until the end of the century, coexisting however with Mannerism, which retained a certain validity. Following the new style, the altarpieces acquire a more architectural and monumental conception; The severity of the decoration is accentuated (pediments, free-standing columns, friezes, triglyphs and metopes), while the images become expressive and gesticulating, in an attempt to be persuasive.
The new trend will be led by masters such as Gaspar Becerra, author of the main altarpiece of the Cathedral of Astorga (1558-1562), a paradigmatic piece that will create a fashion, being widely copied. Other representative artists of this moment are Pedro López de Gámiz (main altarpiece of the convent of Santa Clara "Monasterio de Santa Clara (Briviesca)"), Briviesca), Rodrigo de la Haya (who with his brother Martín made the main altarpiece of the Burgos cathedral) and Juan de Ancheta.
• - Main altarpiece of the Cathedral of Astorga.
• - Main altarpiece of the convent of Santa Clara de Briviesca.
• - Main altarpiece of the Burgos cathedral.
Perhaps the culminating moment of the Romanesque style, as well as its end, was the classicism that was imposed during the reign of Philip II and the construction of the Monastery of El Escorial. The Escurialense style marks the transition from the Renaissance to the Baroque in Spain. It is an art that dispenses with accessory elements, eliminating any decorative concession and giving prominence to the architectural support, which follows the classical canons in an almost obsessive way, although introducing a gigantism with Michelangelo roots. Regarding altarpieces, the main example of this trend was the main altarpiece of the monastery's Basilica. Being a commission of great symbolic importance (since it had to preside over the space where the kings of Spain were buried) made this piece a unique work; The most expensive materials were used in its making (jaspers, polychrome marble, fire-gilded bronze) as well as a plethora of artists among the most famous of their generation: Juan de Herrera gave the general layout, Pompeyo and Leone Leoni made the sculptures and it was even thought that a painting by Titian would preside over the ensemble, although finally the pictorial part was commissioned to Pellegrino Tibaldi and Federico Zuccaro.
This monumental work can be considered the swan song of the Renaissance in Spain in the field of the altarpiece. The impact and novelty that it entailed would prevail well into the century, collecting many examples that would be made from then on some of these innovations, such as the rigid superimposition of orders, the use of stone instead of polychrome wood, the clear structuring and iconographic hierarchy, and above all, the emphasis that will be given from now on to the tabernacle or tabernacle, which, as happens in El Escorial, often becomes exempt and almost independent of the body of the altarpiece.[156].
Baroque altarpiece: 17th and 18th centuries
El Barroco fue, quizá, la época dorada del retablo, tanto por el gran número de ellos que se hicieron como por su importancia artística, su variedad tipológica y formal, y sus dimensiones, que llegaron a ser del todo monumentales. En esta época, además, con la implantación de la Contrarreforma tras el Concilio de Trento, se afianza la construcción de retablos en lugares donde había decaído en siglos anteriores, como zonas de Alemania, Austria, Polonia, Países Bajos católicos o la misma Italia. En todo caso, la península ibérica siguió siendo el centro más creativo e importante, con la novedad de la exportación a las iglesias y catedrales que se construían en esa época en las colonias de América y otros lugares.
En los siglos y , el retablo cobró un extraordinario protagonismo en el interior de las iglesias, de modo que muchas veces la propia arquitectura de los templos acaba supeditada a su colocación, generalizándose las cabeceras planas con testero ciego, o a lo sumo con ventanales abiertos en su parte más alta de modo que no interfieran con la estructura del retablo y se adapten a ella. En una época en la que el arte busca la cercanía con el fiel, se generalizan tipologías nuevas, como el retablo con camarín (que tenía precedentes en el Renacimiento), el retablo exento a modo de ciborio "Ciborio (arquitectura)") o tabernáculo, el retablo-transparente, con aberturas que dejan pasar la luz, el retablo-relicario, surgido a partir del resurgir del culto a las reliquias de los santos, etc.
Los retablos barrocos suelen concebirse como parte integrante de una decoración mayor que se extiende por toda la iglesia, y así hacen juego a veces con frescos pintados en techos o paredes, o con otros retablos, repitiendo por ejemplo los llamados "retablos colaterales" la forma y decoración del retablo mayor o de la capilla principal. En esta época se acentúa fuertemente la jerarquización de los elementos decorativos del templo, a la vez que los mismos tienden a formar un todo. Naturalmente, esto es más palpable en las iglesias construidas ex-novo en época barroca, aunque viejos templos como la catedral de León sufrieron en esta época el influjo del nuevo estilo, diseñándose decoraciones a veces un tanto chocantes con la arquitectura precedente.[161].
Italian baroque altarpieces
In the Italian Baroque, the iconography of the pale, following the theological recommendations of the Counter-Reformation, focuses on a single theme, such as the patron saint of the church or the corresponding altar, usually on canvases or in large sculptural groups. The material used most extensively and frequently in Italian Baroque altarpieces is marble in contrast to the gilded and polychrome wood of previous periods. Sometimes other semiprecious materials such as lapis lazuli and malachite are used.
• - Italian baroque altarpieces.
• - Pala di altare of the capella dei gesuiti in the parish church of Grazzano Badoglio, by Andrea Pozzo.
• - Pala of the cappella Panciatichi of the Cathedral of Florence, painted by Domenico Pugliani").[162].
• - Ensemble of the capella Cornaro") in Santa Maria della Vittoria in Rome, which includes Bernini's Ecstasy of Saint Teresa behind the altar.
Flemish baroque altarpieces
In the Southern Netherlands, in reaction to Protestant aniconism, the decoration of Catholic churches became extreme. Not only the altarpieces, but the pulpits and even the pillars of the naves became supports for sophisticated sculptural groups, while the large-scale creations of the Flemish school of painting headed by Rubens were added to the tradition of pictorial polyptychs, in much more simplified structures.
• - Flemish baroque altarpieces.
• - Baroque altarpiece from the chapel of the Madonna of Bruges (which displays in its center a carving by Michelangelo from the beginning of the century) in the church of Our Lady of Bruges.[163].
• - Main altarpiece of the cathedral of San Rumoldo de Mechelen, by Lucas Faydherbe.
• - Altarpiece of the Crucifixion in the same cathedral, by Van Dyck (1630).
• - Altarpieces by Rubens in the Antwerp Cathedral.
• - Main altarpiece with the Assumption of the Virgin&action=edit&redlink=1 "Assumption of the Virgin (Rubens) (not yet written)") (1626).
• - The elevation of the cross (1610-1611).
• - Descent "Descent of Christ (Rubens)") (1612).
• - Resurrection of Christ&action=edit&redlink=1 "Resurrection of Christ (Rubens) (not yet written)") (1612), open.
• - Idem, closed.
French baroque altarpieces
The relationship between French altarpieces and complex Baroque spirituality has been particularly studied.[164][165].
• - French baroque altarpieces.
• - Altarpiece of the Assumption of the Virgin in the church of Saint Nicholas of the Fields "Church of Saint Nicholas of the Fields (Paris)") in Paris,[166] by Simon Vouet and Jacques Sarrazin (1629).
• - Main altarpiece of the church of Saint-Jean-du-Marché de Troyes"),[167] trace by François Girardon and painting by Pierre Mignard (Baptism of Christ).
• - Main altarpiece of the Cathedral of Cavaillon"),[168] by Pierre Mignard.
• - Altarpiece of the charterhouse of Vauclair").[169].
Central European baroque altarpieces
In Central Europe, the Baroque was the art of the Counter-Reformation in the areas that were maintained or recovered by Catholicism (Habsburg States of Vienna, Southern Germany, Poland); but also art in Lutheran areas. At the end of the century and the beginning of the century, the altarpieces merged with the architectural environment, which in turn blurred into sculptures and ornamental elements in all types of materials (stones, metals, and especially stucco).
• - Central European baroque altarpieces.
• - Main altar of the Karlskirche of Vienna "Church of St. Charles Borromeo (Vienna)").
• - Main altar of the Michaelerkirche in Vienna "Michaelerkirche (Vienna)").[170].
• - Altarpieces from the Wallfahrtskirche of Maria Plain")[171] in Salzburg.
• - Main altarpiece of the church of Saint Nicholas in Malá Strana")[172] in Prague.
• - Altarpieces of the church of Saint Nicholas (Bernbeuren)&action=edit&redlink=1 "Church of Saint Nicholas (Bernbeuren) (not yet written)").[173].
• - Altarpiece from the church of Saint Cosmas and Saint Damian in Stade, by Christian Precht[174] (1677), a Lutheran church.
• - Altar of the Schloßkirche of Weesenstein"),[175] a Lutheran church.
• - Main altarpiece of the Gertrudenkirche in Osnabrück, by Thomas Simon Jöllemann")[176] (1717-1729).
• - Main altarpiece of the Asamkirche[177] in Munich, by the Asam brothers (1733-1746).
• - Main altarpiece of the Church of the Assumption in Gniezno.
• - Main altarpiece of the church of the Exaltation of the Holy Cross in Jelenia Góra.
• - Altarpieces from the church of San Bernardino de Siena in Krakow.
• - Altarpiece from the church of Skedsmo (Norway).
Spanish baroque altarpieces
Spanish baroque altarpieces are very sophisticated, complex and varied in local schools.[178] In the same place, such as the Cartuja de Granada, you can see classicist altarpieces (such as the trompe l'oeil by Sánchez Cotán) and the greatest exuberance (such as those in the sacristy and the famous free-standing tabernacle, by Francisco Hurtado Izquierdo). In Salamanca at the end of the century, the churrigueresque style triumphed. In the Toledo of the first third of the century, Narciso Tomé achieved a high point of the style (the famous "transparent"), which later neoclassical criticism denigrated as an example of Baroque "bad taste." The granite filigrees on the façade of the Obradoiro of the Cathedral of Santiago de Compostela (Fernando de Casas Novoa, also the author of traces of altarpieces, notably that of San Martín Pinario, together with Miguel de Romay[179]) are often compared with the shapes of these latest Baroque altarpieces. Over the course of a century and a half, multifaceted artists (such as Alonso Cano) or specialized in one art (such as the architects Juan Gómez de Mora[180] or José de Churriguera, the sculptors Alonso and Pedro de Mena, Gregorio Fernández, Martínez Montañés or Francisco Salzillo, or the painters Murillo, Valdés Leal or Zurbarán) left a good part of their work in altarpieces of the era; while within baroque altarpieces carvings or paintings from previous periods were also included (as occurs in the main altarpiece of the Valencia Cathedral).[181].
• - Main altarpiece of the Valencia Cathedral, of Baroque style (Juan Bautista Pérez Castiel, 1674-1682) but whose paintings are Renaissance, much earlier (Fernando Yáñez de la Almedina and Fernando de los Llanos, 1506-1510).
• - Altarpiece-reliquary from the convent of San Diego in Valladolid, by Juan de Muniátegui"), Vicente Carducho and Bartolomé Carducho (1604-1606).
• - Altarpiece from the Cerralbo chapel, by Alonso de Balbás and Francisco Camilo.
• - Altarpiece or fake altar of Saints Peter and Paul in the Cartuja de Granada, by Sánchez Cotán.
• - Main altarpiece of the church of the Annunciation (Seville) "Church of the Annunciation (Seville)"), where Alonso Matías"), Antonio Mohedano, Juan de Roelas and Martínez Montañés among others (1604-1624) participated.
• - Main altarpiece of the Convent of Santa Isabel "Main altarpiece of the Convent of Santa Isabel (Valladolid)") of Valladolid, by Francisco Velázquez, Cristóbal Velázquez, Melchor de Beya, Juan Imberto and Gregorio Fernández (1613-1614).
• - Lateral altarpiece of the Royal Chapel of Granada, by Alonso de Mena (1632).
• - Tables from the "Portaceli altarpiece"), from Ribalta.
• - Main altarpiece of the church of the convent of the Descalzas Reales (Valladolid) "Convento de las Descalzas Reales (Valladolid)"), by Juan de Muniátegui"),[182] Gregorio Fernández and Santiago Morán, 1612.
Portuguese baroque altarpieces
The symbolism of the "Eucharistic throne" in Portuguese baroque altarpieces has been investigated.[188].
• - Main altarpiece of the Aveiro Cathedral. The same temple contains other notable altarpieces.
• - Altarpiece from the chapel of Nossa Senhora da Doutrina in the church of San Roque (Lisbon) "Church of San Roque (Lisbon)").[189] The same temple contains other notable altarpieces, and the museum of which it is part, an exceptional collection of sacred art, including altarpieces from other sources.[190].
• - Main altarpiece and sides of the church of the convent of Santa Clara-a-Nova").[191].
• - Main altarpiece of the church of Vilar de Frades.
• - Altarpiece of the Matriz de Melgaço church"). In the same temple there is another notable altarpiece by António Figueiroa") (end of the century).
Colonial baroque altarpieces
The extraordinary decorative richness (both in the materials used and in the profusion of details) and some syncretic characteristics coming from the indigenous artistic substrate (although they basically respond to European aesthetic and religious criteria) characterizes the baroque altarpieces of the colonial cities of the Spanish and Portuguese empires (unified between 1580 and 1640). In addition to those of Spanish America and the Philippines, those of the Portuguese colonial cities of Goa (in India) and Salvador de Bahia (in Brazil) are particularly notable; those of the latter are counted in the hundreds (it was said that mass could be heard on a different day of the year - the same was said of the Mexican valley of Cholula).[192][193].
However, there was already production of altarpieces in Spanish America in the century; both in the first ecclesiastical foundations of the Caribbean and in the continental territories.[194] The one that is considered oldest on the continent is that of San Juan Cuauhtinchán") (Puebla), dating back to around 1527.[195].
• - The so-called "altarpiece of the Kings" in the cathedral of Mexico.
• - Altarpiece called "of the kings" in the cathedral of Puebla.
• - Church of the monastery of San Gabriel de Cholula").
• - Church of San Miguel Tianguishahuatl") in San Pedro Cholula.
• - Main altarpiece of the church of San Francisquito de Campeche.
• - Main altarpiece of the church of Chacas, Peru.
• - Main altarpiece of the church of the Company (Quito) "Iglesia de la Compañía (Quito)").
• - Main altarpiece of the church of San Rafael de Velasco (Santa Cruz, Bolivia).
• - Main altarpiece of San Ignacio de Velasco.
• - Main altarpiece of San Miguel de Velasco.
• - Altarpiece of the Immaculate Conception of San Ignacio de Velasco.
• - Main altarpiece of the church of Concepción (Santa Cruz) "Concepción (Santa Cruz)").
• - Main altarpiece of San José de Chiquitos.
• - Altarpiece of the Chiquilín church") (Chachapoyas).
• - Main altarpiece of the Cathedral Basilica of San Salvador (Salvador de Bahía, Brazil), former Jesuit church, by João Correia") (1665-1670).[196].
• - Main altarpiece and sides of the church of the convent of San Francisco (Salvador de Bahía)&action=edit&redlink=1 "Church of the convent of San Francisco (Salvador de Bahía) (not yet written)").[197].
• - Altarpieces from the side chapels of the same church.
• - Main altarpiece of the church of Our Lord of Bonfim (Salvador de Bahía).
• - Main altarpiece of the Basilica of the Santo Niño of Cebu.
• - Main altar and sides of the Basilica of the Good Jesus of Goa.
Contemporary Age
In the middle of the century, the ornaments of the Louis At the beginning of the century he brought the simplest forms of Greco-Roman doorways to the altarpieces. Since the mid-19th century, eclectic and historicist altarpieces have been produced. Already in the 19th century, the renewal of ecclesial aesthetics in Catholicism was radical, opening up to the artistic avant-garde, especially after the Second Vatican Council. The altarpiece of the Basilica of Aránzazu is also notable.
• - Altarpiece of Saint Eufemia "Altarpiece of Saint Eufemia (Ourense Cathedral)") of the Cathedral of Ourense (1720).
• - Altarpiece of Saint Catherine "Altarpiece of Saint Catherine (Monasterio de San Martín Pinario)") from the Monastery of San Martín Pinario (1763).
• - Altarpiece of the Holy Christ of Hope "Altarpiece of the Holy Christ of Hope (Orense)") of the Church of Santa Eufemia "Iglesia de Santa Eufemia (Orense)") of Ourense (1770-1771).
• - Altarpiece from the San Bernardino chapel of the Basilica of San Francisco the Great, with Goya's canvas San Bernardino of Siena preaching before Alfonso V of Aragón (1781-1783).
• - Main altarpiece of San Jerónimo el Real (Madrid), in a painting by Luis Paret (1791).
• - The altarpieces were destroyed during the French occupation, which turned the church into a barracks (1808-1814), the current ones are the result of the restoration directed by Enrique María Repullés (1879-1882).
• - Behind the main altar of the Magdalena church, a sculptural group by Carlo Marochetti is arranged as an altarpiece[201].
• - Behind the main altar of the Sacré Cœur basilica there is a neo-Romanesque altarpiece.[202].
• - Chapel of Saints Gregory and Augustine in Westminster Cathedral, in a historicist style that can be classified as Neo-Byzantine, where the mosaics are framed in architectural structures that look like an altarpiece.
• - Neo-Gothic altarpiece of the Basilica of Saint-Materne"), by Léopold Blanchaert") (1901).
• - Main altarpiece "Main altarpiece of the Church of Santiago (Orense)") of the church of Santiago de Orense, by Maximino Magariños Rodríguez (1919).
• - Crystal altarpiece by René Lalique in the Glass Church") of Millbrook (Jersey)&action=edit&redlink=1 "Millbrook (Jersey) (not yet written)").
• - The altar of the church of St. Engelbert (Cologne)&action=edit&redlink=1 "Church of St. Engelbert (Cologne) (not yet written)")[203] shows the decorative simplicity of the churches of the 19th century.
• - Torreciudad altarpiece, by Joan Mayné.[204].
• - The main altar of the new Basilica of the Virgin of Guadalupe in Mexico reproduces the recognizable volume and layout of the classic Hispanic altarpieces, although with a radical simplification of elements.
• - Idem, detail.
• - Bronze altarpiece from the Notre-Dame Basilica of Montreal, by Charles Daudelin (1978-1982).
• - Finnish birch wood altarpiece from the Zacatecas Cathedral, by Javier Marín.
• - Altarpiece of the parish church of Hontoria de la Cantera.
• - Ayacucho altarpiece.
• - Portuguese national altarpiece.
• - Wikimedia Commons hosts a multimedia category on Altarpiece.
• - Wiktionary has definitions and other information about altarpiece.
• - Retrotabulum.
• - Mediatheque. Idem.
• - Ceramic altarpieces.
• - L'Europe des retables, colloquium organized by Rencontre avec le Patrimoine Religieux, 2004 (there are two derived publications -Art Sacré - Les retables and Art Sacré: L'Europe des retables volume II (XVIe - XVIIIe s.).
• - Gisela M. A. Richter, Otmar Richter, Christoph Machat, Arbeitskreis für Siebenbürgische Landeskunde, Siebenbürgische Flügelaltäre, Wort und Welt Verlag, 1992, ISBN 3-85373-149-X.
• - Altarpieces from the church of San Juan (Salvatierra).
• - Concepción de la Peña Velasco, The value of the word in the Spanish altarpiece. From the end of Gothic to the beginning of Neoclassicism.
• - Altarpiece; Illustrated basic terminology. Product of collaboration between the Andalusian Institute of Historical Heritage and the Getty Conservation Institute [1].
• - The five altarpieces... cultura.castillalamancha.es -Main altarpiece of the Church of San Bartolomé. Bienservida (Albacete), Main altarpiece of the Cathedral of Nuestra Señora del Prado in Ciudad Real, Altarpiece of the Chapel of the Assumption of the Church of San Pedro Apóstol. Villaescusa de Haro (Cuenca), Altarpiece of Santa Librada in the Cathedral of Sigüenza (Guadalajara), Main Altarpiece in the Cathedral of Santa María de Toledo.
[2] ↑ Según el DRAE: Del b. lat. retaulus, y este del lat. retro, detrás, y tabŭla, tabla. Las fuentes discrepan sobre la identificación de tal "tabla" con las del propio retablo o con la mesa del altar: The Spanish word retablo was derived from the Latin term retro tabula for "behind the altar" (retro for back and tabula for board, tablet; the Latin tabulum means table) (Art and Faith in Mexico: The Nineteenth Century Retablo Tradition). From the low Latin retaulus (retro-tabula), something "behind the table" or altar. (The Art and Architecture of the Texas Missions - Página 218). Deriva del latín vulgar, retaulus (Latín: retro tabula, literalmente, detrás de la mesa) (Los retablos del siglo XVIII en el sur de España, Portugal y México - Página 15). ...se pone este tablero atrás del altar, de ahí su nombre: retro tábula (Manual de arte cristiano... - Página 317).
[3] ↑ En lengua inglesa se establece una diferencia entre dos tipologías de altarpieces, la denominada reredos y la denominada retable. Nicolas Pioch, Webmuseum, 14 Oct 2002: Altarpieces divide into two main types: the reredos, which rises from ground level behind the altar, and the retable, which stands either on the back of the altar itself or on a pedestal behind it. Many altars have both.
[4] ↑ *Giovanni Gheradini Voci e maniere di dire italiane additate a'futuri vocabolaristi, Bianchi e comp., 1838, vol. 1, pg. 646: ANCÓNA. Sust. f. Tavola dipinta, quadro... deriva dil greco Eicon... [es decir, de εἰκών -eikon, Imagen, icono-]... Alberti, il qual dice qui per "Ancona" si intende "Tavola o Quadro grande di altare". Ma, oltreche gli artisti in tal signif. speciale usano la voce "Pala"...
[5] ↑ a b * Barbara Welzel, Thomas Lentes, Heike Schlie (Hrsg.): Das „Goldene Wunder“ in der Dortmunder Petrikirche. Bildgebrauch und Bildproduktion im Mittelalter (= Dortmunder Mittelalter-Forschungen. Bd. 2). 2. Auflage. Verlag für Regionalgeschichte, Bielefeld 2004, ISBN 3-89534-582-2.
[9] ↑ Adorno de fajas y molduras en una pared o bóveda y también nicho (cavidad de un muro para colocar una estatua, jarrón o cosa semejante), lo que más a menudo se entiende como hornacina -Real Academia Española. «encasamento». Diccionario de la lengua española (23.ª edición). Real Academia Española. «hornacina». Diccionario de la lengua española (23.ª edición). -. El mismo DRAE recoge encasamiento, aunque ese término tiene otro uso: reparo de las casas, es decir, lo que se más a menudo se entiende como mantenimiento -Real Academia Española. «encasamiento». Diccionario de la lengua española (23.ª edición). Real Academia Española. «mantenimiento». Diccionario de la lengua española (23.ª edición). -. No debe confundirse con casamiento -Real Academia Española. «casamiento». Diccionario de la lengua española (23.ª edición). -.: https://dle.rae.es/encasamento
[10] ↑ El DRAE la define como fábrica de cal y canto - obra de relieve - bordado de oro y plata de realce - conjunto de varias piezas de plata u oro que se hacían para el servicio de las iglesias (esta última acepción, seañalada como uso antiguo) -Real Academia Española. «mazonería». Diccionario de la lengua española (23.ª edición). -. No debe confundirse con masonería -Real Academia Española. «masonería». Diccionario de la lengua española (23.ª edición). -.: https://dle.rae.es/mazoner%C3%ADa
[11] ↑ * Glosario de términos en CVC (Centro Virtual Cervantes)
[15] ↑ C.M. Martín Jiménez y A. Martín Ruiz, Retablos escultóricos Renacentistas y Clasicistas, Valladolid: Diputación Provincial, 2010.
[16] ↑ Real Academia Española. «retablo». Diccionario de la lengua española (23.ª edición).: https://dle.rae.es/retablo
[17] ↑ Agustín Tamayo, Cervantes, síntesis de la cultura española, en VV. AA., IV centenario de Cervantes, Universidad Nacional Mayor de San Marcos, Lima, 1948, págs. 29-35 (reproducido en CVC): La Edad de Oro en que la trilogía Lope, Tirso, Calderón, realiza el prodigio del retablo teatral español. Retablo popular, en que se ha señalado la falta de perspectiva; defecto que venciera en España, y ya anteriormente, el hebreo Fernando de Rojas, adelantándose a Shakespeare.: http://cvc.cervantes.es/literatura/quijote_america/peru/tamayo.htm
[19] ↑ * Gaby Vovelle, Michel Vovelle, Vision de la mort et de l'au-delà en Provence: d'après les autels des âmes du purgatoire XVe-XXe siècles, Armand Colin, 1970
[23] ↑ Pierluigi De Vecchi ed Elda Cerchiari, I tempi dell'arte, volume 1, Bompiani, Milano 1999. Fuente citada en Vuolvino y it:Altare di Sant'Ambrogio.
[34] ↑ Binski, Paul ; Ann Massing (eds); The Westminster Retable: History, Technique, Conservation, Turnhout: Harvey Miller, 2008, ISBN 978-1-905375-28-8. Fuente citada en Westminster Retable.
[37] ↑ El DRAE recoge su etimología del francés antiguo chambrande, y dos acepciones: cada uno de los travesaños que unen entre sí las partes de una silla, de una mesa o de otro mueble, para darles mayor seguridad; y, como término arquitectónico, labor o adorno de piedra o madera, que se pone alrededor de las puertas, ventanas, chimeneas, etc. -Real Academia Española. «chambrana». Diccionario de la lengua española (23.ª edición).: https://dle.rae.es/chambrana
[38] ↑ Pierluigi De Vecchi ed Elda Cerchiari, I tempi dell'arte, volume 1, Bompiani, Milano 1999.
[39] ↑ Fachada telón Archivado el 5 de marzo de 2016 en Wayback Machine. en glosario.net
[42] ↑ * María del Carmen Lacarra Ducay (coord.) Retablos esculpidos en Aragón: del Gótico al Barroco, Institución Fernando el Católico.
[43] ↑ Francesca Español, L'escenari litúrgic de la catedral de Girona: un patrimoni moble desmantellat? (conferencia, 19-12-2011). Fotografía antigua, en la web oficial Archivado el 28 de diciembre de 2016 en Wayback Machine.. Véase la imagen disponible en Commons: el retablo, de muy pequeño tamaño en comparación con las dimensiones del templo, está bajo un baldaquino y tras las rejas que delimitan la zona del altar.: http://aar-iec.blogspot.com.es/2011/12/19-12-2011-conferencia-dra-francesca.html
[45] ↑ Pequeño retablo dividido en tres calles y tres cuerpos dedicado a San Cristóbal, protector contra la muerte súbita, que ocupa la calle central, rematada por la Crucifixión.... En las calles laterales aparecen escenas de las vidas y martirios de otros santos: San Pedro, San Blas y San Millán, identificados con sus nombres en las molduras que los separan, y un ángel turiferario -portador de un incensario- en el remate.... Perteneciente al estilo francogótico o gótico lineal, propio de la pintura castellana del siglo XIV... De origen desconocido, se supone que este retablo pudo proceder de un monasterio benedictino riojano al incluir una escena de la vida de San Millán. El león y el castillo que se repiten en los límites de la obra simbolizan los reinos de Castilla y León, y sugieren que la obra pudo haber sido destinada a una fundación Real. Ficha en la web del Museo del Prado.: http://www.museodelprado.es/coleccion/galeria-on-line/galeria-on-line/obra/retablo-de-san-cristobal/
[46] ↑ Retablo de Santo Domingo de Guzmán (Tamarite de Litera) -fotografías-. Gemma Malé, Nuevas aportaciones sobre el retablo de Santo Domingo de Tamarite de Litera - iconografía, origen, promoción y datación, Anuario del Departamento de Historia y Teoría del Arte, ISSN 1130-5517, N.º 20, 2008, págs. 37-52.: http://arte-paisaje.blogspot.com.es/2012/04/retablo-de-santo-domingo-de-guzman.html
[58] ↑ Arnaud Gassies fue un pintor nacido en Perpiñán (Rosellón -norte de Cataluña, en el reino de Francia desde el siglo XVII-, ca. 1390 - ídem, 1456 o 1458). Le retable de Saint-Michel et Saint-Hippolyte commandé par Pierre de Mont Roigt est considéré « retable des verriers ». Ses peintures furent réalisées en 1454 par le peintre Arnaud Gassies qui fut vraisemblablement influencé par le peintre flamand Vaneyck (de nombreux peintres étrangers sont venus dans la région pour exercer dès cette époque là, d'où ces influences nordiques dans la touche de peintres locaux). Le retable de Saint-Jean l'évangéliste, gothique comme le précédent, fut lui aussi réalisé par l'atelier de Gassies en 1461 (son atelier a continué l'activité, lui même n'a pas pu le réaliser car il est mort en 1458. (Palau del Vidre). Marcel Durliat, Arnaud Gassies: peintre perpignanais du XVe siècle, Imprimerie du Midi, 1951. Arnaud Gassies.: http://masterpropatrimoinedeperpignan.over-blog.com/article-palau-del-vidre-113865243.html
[60] ↑ Entre las obras realizadas en este ámbito artístico hay que destacar el conjunto de cuatro tablas, procedentes del antiguo Retablo Mayor de la iglesia hispalense de san Benito de Calatrava, en las que se representan ocho santos emparejados. A mediados del siglo XVII, las tablas fueron sustituidas por otras encargadas a Valdés Leal, guardándose las originales hasta ser depositadas en el museo por las Órdenes Militares en 1908. (El Museo de Bellas Artes de Sevilla -II. La planta baja.) Véanse imágenes en Juan Sánchez de Castro.: http://leyendasdesevilla.blogspot.com.es/2011/08/el-museo-de-bellas-artes-de-sevilla-ii.html
[66] ↑ F. Röhrig: Der Verduner Altar. 8., neu bearb, Auflage, Klosterneuburg, Wien 2004. Fuente citada en Meister der Rückseite des Verduner Altars.
[67] ↑ "Stift Klosterneuburg: 900 Years of History". Augustinian Canons. Fuente citada en en:Klosterneuburg Monastery, de:Stift Klosterneuburg.
[68] ↑ Karl, M. Koller, R. Perger, F. Röhrig und A. Rosenauer (Hrsg.): Der Albrechtsaltar und sein Meister. Wien 1981. Fuente citada en de:Meister des Albrechtsaltares zu Klosterneuburg y en it:Maestro dell'Altare di re Alberto.
[69] ↑ "Rueland Frueauf the Younger Brief Biography". Fuente citada en en:Rueland Frueauf the Younger. Karl Oettinger: Frueauf, Rueland der Jüngere. In: Neue Deutsche Biographie (NDB). Band 5. Duncker & Humblot, Berlin 1961, ISBN 3-428-00186-9, S. 667 f. Fuente citada en de:Rueland Frueauf der Jüngere.
[70] ↑
[71] ↑ Jaroslav Pesina: Der Hohenfurther Meister. Übers. von Lenka Reinerová. Prag 1982. Fuente citada en Meister von Hohenfurth.
[72] ↑ Ernst Adam: Baukunst der Stauferzeit in Baden-Württemberg und im Elsaß. Stuttgart and Aalen 1977th. Fuente citada en St. George's Church, Haguenau.
[73] ↑ Collectif, Le Patrimoine des Communes d'Ille-et-Vilaine, Éditions Flohic, Paris, mars 2000, 2 tomes, (ISBN 2-84234-072-8). Fuente citada en Église Saint-Sulpice de Fougères.
[74] ↑ Collégiale Saint-Vulfran, base Mérimée, ministère français de la Culture. Fuente citada en Église Saint-Vulfran d'Abbeville.
[75] ↑ Dube, Elizabeth Healy: "The Grabow Altar of Master Bertram von Minden", Providence, Brown Univ., Diss., 1982. Fuente citada en Grabower Altar.
[76] ↑ The Grove Dictionary of Art. Fuente citada en Jacques de Baerze.
[78] ↑ Église Saint-Clair-Saint-Léger [archive], base Mérimée, ministère français de la Culture. Fuente citada en Église Saint-Clair-Saint-Léger de Souppes-sur-Loing.
[79] ↑ Armon Fontana: Die Kirchen in Rhäzüns. Schweizerischer Kunstführer. Bern 2004. Fuente citada en Sogn Gieri (Kirche).
[80] ↑ Karl Mengel: Die Walpurgiskirche zu Alsfeld. Versuch einer Deutung der Entstehungsgeschichte der Alsfelder Hauptkirche. Geschichts- und Museumsverein Alsfeld 1994, ISBN 3-927284-05-X. Fuente citada en Walpurgiskirche (Alsfeld).
[81] ↑ Die Marienkirche: Gelnhausen und das Kloster Selbold. Fuente citada en Marienkirche (Gelnhausen).
[82] ↑ P. Strieder: Der Tucheraltar in der Nürnberger Frauenkirche. In: Die Kunst und das schöne Heim 48, 1949, S. 172-177. Fuente citada en Meister des Tucheraltars.
[83] ↑ Caterina Limentani Virdis, Mari Pietrogiovanna: Flügelaltäre; Hirmer Verlag, München 2002, ISBN 3-7774-9520-4. Elisabeth Margarete Comes: "Ein Garten Eden. Die Pflanzen auf Stefan Lochners Altar der Stadtpatrone", Nicolai Verlag, Berlin 2013, ISBN 978-3-89479-714-0. Fuentes citadas en Dreikönigsaltar (Stephan Lochner).
[88] ↑ Maurizia Tazartes, Giotto, Rizzoli, Milano 2004; fuente citada en Polittico Stefaneschi.
[89] ↑ Pierluigi Leone de Castris, Simone Martini, Federico Motta Editore, Milano 2003. Fuente citada en Polittico di Santa Caterina d'Alessandria.
[90] ↑ Gloria Fossi, Uffizi, Giunti, Firenze 2004. ISBN 88-09-03675-1 Fuente citada en Trittico della Madonna col Bambino e i santi Pietro e Paolo.
[91] ↑ "Luoghi della Fede", Regione Toscana. Fuente citada en Pieve di San Giovanni Battista (San Giovanni d'Asso).
[92] ↑ Gloria Fossi, Uffizi, Giunti, Firenze 2004. ISBN 88-09-03675-1 Fuente citada en Pala della beata Umiltà.
[93] ↑ Louise Govier, The National Gallery, guida per i visitatori, Louise Rice, Londra 2009. ISBN 978-1-85709-470-1. Fuente citada en Pala della Crocifissione.
[94] ↑ Andrea G. De Marchi, s. v. Jacopo di Cione, in Enciclopedia dell'Arte Medievale, VII, Roma, Treccani, 1996, pp. 244-246. Fuente citada en it:Jacopo di Cione.
[95] ↑ Hans Dietrich Gronau, Andrea Orcagna und Nardo di Cione. Eine stilgeschichtliche Untersuchung, Berlin, Deutscher Kunstverlag, 1937. Fuente citada en Nardo di Cione.
[96] ↑ John Pope-Hennessy, Beato Angelico, Scala, Firenze 1981. Fuente citada en Trittico di san Pietro martire.
[97] ↑ "Luoghi della Fede", Regione Toscana. Fuente citada en Convento di San Domenico (Fiesole).
[98] ↑ John Pope-Hennessy, Beato Angelico, Scala, Firenze 1981. Fuente citada en Tabernacolo dei Linaioli.
[99] ↑ John Pope-Hennessy, Beato Angelico, Scala, Firenze 1981. Fuente citada en Trittico di Cortona.
[100] ↑ John Pope-Hennessy, Beato Angelico, Scala, Firenze 1981. Fuente citada en Pala di Perugia.
[101] ↑ John Pope-Hennessy, Beato Angelico, Scala, Firenze 1981. Fuente citada en Pala di San Marco.
[102] ↑ AA.VV., Galleria degli Uffizi, collana I Grandi Musei del Mondo, Roma 2003. Fuente citada en Pala di Bosco ai Frati.
[103] ↑ Mariolina Olivari, Giovanni Bellini, in AA.VV., Pittori del Rinascimento, Scala, Firenze 2007. ISBN 88-8117-099-X. Fuente citada en Polittico di San Vincenzo Ferrer.
[104] ↑
[105] ↑
[106] ↑ Mauro Lucco, Giovanni Carlo Federico Villa, Giovanni Bellini, Silvana Editoriale, Milano 2008. ISBN 978-88-366-1133-1. Fuente citada en Pala di Pesaro.
[107] ↑ Vittoria Garibaldi, Perugino, in Pittori del Rinascimento, Scala, Firenze 2004 ISBN 88-8117-099-X. Fuente citada en Polittico di San Pietro.
[108] ↑ Pirovano, Carlo (2002). Lotto. Milan: Electa. Fuente citada en Recanati Polyptych.
[109] ↑ Antonio Paolucci, Luca Signorelli, in Pittori del Rinascimento, Scala, Firenze 2004 ISBN 88-8117-099-X. Fuente citada en Polittico di Arcevia.
[110] ↑ Scheda su Chiesa di Santa Corona. Fuente citada en Chiesa di Santa Corona.
[111] ↑ L. Puppi, Bartolomeo Montagna, Venezia, 1962. Fuente citada en it:Bartolomeo Montagna.
[112] ↑ Művészeti lexikon I–IV. Főszerk. Zádor Anna, Genthon István. 3. kiad. Budapest: Akadémiai. 1981–1983. Fuente citada en .
[121] ↑ Monumental carved, winged altarpieces are the most ambitious artworks from the Middle Ages, incorporating the skills of painters, sculptors, and cabinetmakers. Those that are most notable for their artistic originality and masterly execution were produced in the southern German-speaking regions, including Austria and South Tirol, in the last decades of the Late Gothic period (roughly 1460 to 1525). By that time altarpieces had evolved from low, fixed panels to large wooden structures with rich architectural ornamentation. Paintings of the saints often adorned the movable wings, while carved reliefs or freestanding sculptures of scenes from the Gospels occupied the gilded, center shrine. Rainer Kahsnitz (texto), Achim Bunz (fotografías), Carved Splendor: Late Gothic Altarpieces in Southern Germany, Austria, and South Tirol, Getty Publications, 2006, ISBN 0-89236-853-5.: http://books.google.es/books/about/Carved_Splendor.html?id=8MlSiFzN_hgC&redir_esc=y
[122] ↑ * Kathrin Wagner, Rostocker Retabelkunst im 15. Jahrhundert, Verlag-Ludwig, 2011, ISBN 3-86935-004-0
[123] ↑ Flügelaltar "Perle von Brabant", Alte Pinakothek, München. Fuente citada en Meister der Perle von Brabant.
[124] ↑ Manfred Koller: Der Flügelaltar von Michael Pacher in St. Wolfgang. (Studien zu Denkmalschutz und Denkmalpflege Band 18). Wien, Köln, Weimar 1998, ISBN 3-205-98900-7. Fuente citada en Pacher-Altar.
[125] ↑ Es uno de los "siete retablos alemanes" seleccionados para su estudio por Arthur Burkhardt. Seven German Altars, F. Bruckmann, Munich, 1965: v. 1. The Herrenberg altar of Jörg Ratgeb. v. 2. The Freiburg altar of Hans Baldung. v. 3. The St. Florian altar of Albrecht Altdorfer. v. 4. The St. Wolfgang altar of Michael Pacher. v. 5. The Kefermarkt altar. v. 6. The Cracow altar of Veit Stoss. v. 7. The Isenheim altar of Matthias Grünewald.
[126] ↑ Burkhard, Arthur. The Cracow Altar of Veit Stoss. Munich, F. Bruckmann, 1972. Fuente citada en Altarpiece of Veit Stoss.
[127] ↑ Ulrike Krone-Balcke: Der Kefermarkter Altar –- sein Meister und seine Werkstatt, Deutscher Kunstverlag, München 1999. Fuente citada en Kefermarkter Flügelaltar.
[128] ↑ Iris Kalden-Rosenfeld: Tilman Riemenschneider und seine Werkstatt. Mit einem Katalog der allgemein als Arbeiten Riemenschneiders und seiner Werkstatt akzeptierten Werke (= Die Blauen Bücher). 3. aktualisierte und erweiterte Auflage. Langewiesche, Königstein im Taunus 2006, ISBN 3-7845-3224-1. Fuente citada en Stadtkirche St. Jakob (Rothenburg ob der Tauber).
[129] ↑ Der Detwanger Altar von Tilman Riemenschneider. Beitr. v. Jürgen Denker, Eike u. Karin Oellermann, Ewald M.Vetter. Wiesbaden 1996. Fuente citada en de:St. Peter und Paul (Detwang).
[130] ↑ Poensgen: Der Windsheimer Zwölfbotenaltar von Tilman Riemenschneider im Kurpfälzischen Museum zu Heidelberg, 7. Auflage 1974. Fuente citada en de:Zwölfbotenaltar.
[131] ↑ Sabine Kutterolf-Ammon: Die Herrgottskirche zu Creglingen. Fuente citada en de:Herrgottskirche (Creglingen).
[132] ↑ También son conocidos con el mismo nombre muchos otros retablos con el tema de San Sebastián y su martirio (véase el amplio tratamiento del tema en la historia de la pintura): en alemán (Sebastianaltar), otros retablos de Holbein el Viejo (1516) -Alte Pinakoteke, Múnich- o de Hans Baldung (1507); -EPPH- en español (retablo de San Sebastián), el de la iglesia de la Asunción de Montesa, del círculo de Juan de Juanes (1559) -La luz de las imágenes Archivado el 16 de septiembre de 2011 en Wayback Machine.- y al de la colegiata de Santa María Mayor de Bolea, de Gil de Brabante (1503) -colegiatadebolea.es-, etc.; en italiano (pala di San Sebastiano), obras de Giovanni del Biondo, Andrea da Murano -en Trebaseleghe-, Dosso Dossi -catedral de Módena, unesco.mo.it-.: https://commons.wikimedia.org/wiki/Category:Martyrdom_of_Saint_Sebastian
[133] ↑ Baumgartner, Rupert (2001). St. Florian's Collegiate Church. Ried im Innkreis: Kunstverlag Hofstetter. Fuente citada en St. Florian Monastery.
[138] ↑ S. van Bellingen: De Meester van 1518. In: De Brabantse Folklore 251 (1986), S.236-241. Fuente citada en Meister von 1518.
[139] ↑ Literatur über St.-Marien-Kirche (Waase) in der Landesbibliographie MV. Fuente citada en St.-Marien-Kirche (Waase).
[140] ↑ Georg Dehio: Handbuch der Deutschen Kunstdenkmäler, Nordrhein-Westfalen. Band 2, Westfalen, Deutscher Kunstverlag, München 1969. Fuente citada en St. Lambertus (Affeln).
[143] ↑ BARAUT, Cebrià - Santa Maria del Miracle - Publicacions de l'Abadia de Montserrat, 2001 - ISBN 84-8415-329-0. Fuente citada en Retaule de la capella del Santíssim (El Miracle).
[144] ↑ VV. AA., Las edades del Hombre: Memorias y esplendores, Fundación Las Edades del Hombre, 1999 (catálogo de la exposición).
[148] ↑ Virgen de la Antigua (Diego de Castillejo. Retablo de la Visitación. Oratorio de los Reyes Católicos (Francisco Niculoso Pisano, 1504).: http://www.retabloceramico.net/articulo0490.htm
[158] ↑ Martín Jiménez, op. cit. páginas 98 y ss. y 170 y ss. Adrián Álvarez y su discípulo Pedro de Torres son dos escultores de origen vallisoletano que se encuentran activos a fines del siglo XVI y comienzos del siglo XVII. En la documentación que se conserva sobre ellos se refleja que en muchas ocasiones policroman sus propias tallas. Trabajan en un círculo cercano a los sucesores de Juni, realizando obras para San Benito como el retablo de la capilla del Obispo Valdivieso (Policromías III).: http://museoescultura.blogspot.com.es/2012/06/serie-policromias-iii.html
[166] ↑ Notice no PA00086111, base Mérimée, ministère français de la Culture. Fuente citada en Église Saint-Nicolas-des-Champs.
[167] ↑ Base Mérimée, ministère français de la Culture. Fuente citada en Église Saint-Jean-du-Marché de Troyes.
[168] ↑ Françoise Reynier, Le mobilier du XVIIe siècle dans la cathédrale de Cavaillon, In Situ, revue du patrimoine, année 2001, no 1. Fuente citada en Cathédrale Notre-Dame-et-Saint-Véran de Cavaillon.
[169] ↑ [Jean-Pierre Aniel, Les maisons de Chartreux : des origines à la Chartreuse de Pavie, Librairie Droz, 1983. Fuente citada en Chartreuse de Vauclaire].
[170] ↑ Posch, Waldemar, St. Michael in Wien (Geschichte). Fuente citada en St. Michael's Church, Vienna.
[171] ↑ Maria Plain - Ein Ort der Stille und Inspiration. Fuente citada en Maria Plain.
[172] ↑ Neil Wilson, Mark Baker. Prague. 9.º edición. Lonely Planet, 2010. ISBN 978-1-74179-668-1. Page 9. Fuente citada en St. Nicholas Church (Malá Strana).
[173] ↑ Hugo Schnell: Bernbeuren/OBB im Pfaffenwinkel. Schnell & Steiner, 1999, ISBN 3-7954-4187-0. Fuente citada en Pfarrkirche St. Nikolaus (Bernbeuren).
[174] ↑ Eckhardt: Christian Precht - Ein Hamburger Bildhauer. 1987, S. 7. Fuente citada en Christian Precht.
[175] ↑ Hendrik Bärnighausen: Schloss Weesenstein. Reihe Sachsens schönste Schlösser, Burgen und Gärten Nr. 17. Edition Leipzig. Leipzig 2003. ISBN 3-361-00527-2. Fuente citada en Schloss Weesenstein y Einhart Grotegut, Lutz Henning: Weesenstein: 700 Jahre Schloßgeschichte. Verlag der Kunst, Dresden 1995, ISBN 3-364-00317-3. Fuente citada en de:Weesenstein.
[176] ↑ Thomas Simon Jöllemann.
[177] ↑ Richard Bauer, Gabriele Dischinger: München, Asamkirche (Schnell & Steiner Kleine Kunstführer, 1277). Regensburg, 2005, ISBN 3-7954-4028-9. Fuente citada en Asamkirche (München).
[178] ↑ Véase, por ejemplo, para Andalucía, José Luis Romero, La imagen edificada: Los retablos barrocos - Andalucía barroca, Junta de Andalucía, 2009; para un entorno más restringido, como la provincia de Gerona, Laurence Gallinaro, Retables baroques de la province de Gerone (1580-1777). Etudes iconologique et socioculturelle (modes de production, diffusion et réception), tesis en la Universidad Autónoma de Barcelona, 22-10-2005.: http://www.juntadeandalucia.es/culturaydeporte/web/html/sites/consejeria/areas/bbcc/documentos/AB/Iti_retablos.pdf
[179] ↑ Leopoldo Fernández Gasalla, En torno a los orígenes de Miguel de Romay ya la escultura compostelana en el tránsito de los siglos XVII al XVIII (1670-1705) Archivado el 7 de julio de 2019 en Wayback Machine., en Cuadernos de estudios gallegos, n.º 108, CSIC, 1996.: http://estudiosgallegos.revistas.csic.es/index.php/estudiosgallegos/article/viewArticle/235
[186] ↑ Grupo dos Amigos de Olivença. Fuente citada en pt:Igreja de Santa Maria do Castelo (Olivença).
[187] ↑ La retablística ofrece en este templo ejemplos magníficos, entre los que cabe destacar el barroco de talla dorada (1723) característico del reinado de D. João V y el espectacular Árbol de Jessé, el mayor que todavía se conserva de los que todavía quedan. Se trata del más impresionante retablo de Olivenza. En madera tallada y policromada se representa el árbol genealógico de María y Jesús con una altura de 10,29m, motivo inspirado en la profecía de Isaías: 'brotará un retoño del tronco de Jessé', conocido en la Historia del Arte desde el s. XII, abandonado en Europa como consecuencia de la Reforma y retomado en la península ibérica con más fuerza durante la contrarreforma. Bajo sus raíces descansa Jessé, el padre de David. De él, parte un tronco robusto con seis ramas sobre las que aparecen las figuras, en este caso no identificadas, de doce reyes de la casa de Judá. El árbol se remata con una mandorla que encierra la imagen de María y el Niño. Si la fecha y firma que aparecen en su base, 'Reno 1774', corresponden a su ejecución, se trataría de los ejemplares tardíos, pues las fechas de florecimiento de este tipo de retablo corresponden a finales del siglo XVI y principios del siglo XVII. V Iglesia de Santa María del Castillo en Olivenza Archivado el 21 de julio de 2012 en Wayback Machine.: http://www.olivenca.org/visitaVirtual_13.htm
[189] ↑ Júlio Parra. Azulejos. Painéis do Século XVI ao Século XX. Lisboa: Santa Casa de Misericórdia, 1994. Fuente citada en Igreja de São Roque (Lisboa).
[190] ↑ Museo Sao Roque - Santa Casa Misericórdia da Lisboa Archivado el 29 de junio de 2018 en Wayback Machine. (web oficial). Véase también Santa Casa de Misericórdia (artículo sobre la institución caritativa, fundada en 1498).: http://www.museu-saoroque.com/pt/Home.aspx
[191] ↑ Base de dados do IGESPAR. Fuente citada en Convento de Santa Clara-a-Nova.
[196] ↑ Flexor, Maria Helena Ochi. "Catedral Basílica". In: Igrejas e Conventos da Bahia. Série Roteiros do Patrimônio, vol. II. Brasília: Iphan / Programa Monumenta, 2010, pp. 11-36. Fuente citada en Catedral-Basílica Primacial de São Salvador.
[197] ↑ Flexor, Maria Helena Ochi. Igrejas e Conventos da Bahia. Série Roteiros do Patrimônio, vol. 2. Iphan / Programa Monumenta, 2001, pp. 36-69. Fuente citada en Igreja e Convento de São Francisco (Salvador).
[203] ↑ Offizielle Webseite der Kölner Gemeinde St. Engelbert. Fuente citada en St. Engelbert (Köln).
[204] ↑ El retablo del templo - Santuario de Torreciudad. Imagen del autor trabajando en un modelo del retablo.: http://www.torreciudad.org/retablo/
• - The Quejana altarpiece") (1397).[50].
• - Those due to Gherardo Starnina (altarpiece in the chapel of the Savior of the Cathedral of Toledo from 1395, and the altarpiece of Brother Bonifacio Ferrer", Valencia, from 1398-1401).
• - Gothic altarpieces in the Iberian Peninsula (s.).
• - Altarpiece of San Marcos in the Collegiate Church of Santa María (Manresa), by Arnau Bassa (1346).
• - Old main altarpiece of the Barcelona Cathedral, now relocated (initial structure from 1356-1367).
• - Altarpiece of All Saints from the monastery of Sant Cugat (San Cucufate, in San Cugat del Vallés), by Pere Serra (1375).
• - Altarpiece of the Holy Spirit in the Seu of Manresa "Collegiate Basilica of Santa María (Manresa)"), by Pere Serra (ca. 1394).
• - Quejana Altarpiece") (1397).
• - Altarpiece by Francesc Comes (Mallorca, ca. 1400).
• - The altarpiece of Archbishop Don Sancho de Rojas") (1415-1420),[52] from the Monastery of San Benito de Valladolid, attributed to Juan Rodríguez de Toledo (who was probably influenced by Italian painters such as Starnina).[53].
• - The main altarpiece of the Old Cathedral of Salamanca, by Nicolás Florentino y Dello Delli (1430-1450).
• - The old main altarpiece of the cathedral of León, now dismantled, by Nicolás Francés (ca. 1434).[54].
• - The main altarpiece of the Seo (Zaragoza, 1434-1480), by Pere Johan and Hans of Suabia, carved in alabaster.
• - Those due to Bernat Martorell, who developed extensive altarpiece work in the middle of the century (Altarpiece of the Transfiguration") of the Barcelona Cathedral, Altarpiece of the Saints Juanes of Vinaixa, Altarpiece of Saint Michael of La Pobla de Cervoles, Altarpiece of Saint Peter of Púbol, Altarpiece of Saint Mary Magdalene of Perella, Altarpiece of Saint Vincent of Menàrguens, etc.).
• - The altarpiece of the chapel of the City House of Barcelona, by the painter Lluis Dalmau and the carpenter Francesc Gomar") (1443-1445). Only the main panel, called Virgen dels Consellers, is preserved.
• - The altarpiece of Peralta de la Sal (1450-1456), by Jaume Ferrer II and Pedro García de Benavarre, interpreted as a transition between international Gothic and the influence of the Flemish primitives (specifically by Robert Campin).[55].
• - Gothic altarpieces in the Iberian Peninsula (1st half s.).
• - Gothic altarpiece from the Monastery of Santes Creus, by Guerau Gener and Lluís Borrassà (1407-1411).
• - Altarpiece of Santa Tecla, by Pere Johan, in the cathedral of Tarragona (1426).
• - Main altarpiece of the Old Cathedral of Salamanca, by Nicolás Florentino y Dello Delli (1430-1450).
• - Main altarpiece of the Seo (Zaragoza), by Pere Johan and Hans of Suabia (1434-1480).
• - Altarpiece of the Mare de Deu de l'Escala of the monastery of San Esteban (Bañolas) "Monastery of San Esteban (Bañolas)"), by Joan Antigó (1437).
• - The Virgen dels consellers by Lluis Dalmau (Barcelona, 1445) presents a structure very similar to that of Santo Domingo de Bermejo, in this case arranged in the architectural environment typical of the altarpieces.
• - Altarpiece from the Transfiguration chapel of Barcelona Cathedral, by Bernat Martorell (1445-1452).
• - Those due to Nuno Gonçalves ("Avis panels")" or "of San Vicente de Fora")", ca. 1470)[56] and the so-called "Portuguese primitives" (see also Portuguese Gothic#Painting).
• - The altarpiece of the church of Santo Domingo de Silos de Daroca, with a central panel by Bartolomé Bermejo and the rest by Martín Bernat (1474-1477). Currently dismantled, Bermejo's panel "Santo Domingo de Silos (Bartolomé Bermejo)") is one of the most outstanding works of the Prado Museum.
• - Those due to Fernando Gallego, who developed extensive altarpiece work at the end of the century (altarpieces of the cathedral of Zamora - the altarpiece of San Ildefonso and the main altarpiece, today disintegrated into the "tables of Arcenillas")",[57] altarpiece of the cathedral of Ciudad Rodrigo, altarpiece of Santa María la Mayor of Trujillo, altarpiece of the church of the Asunción of El Campo of Peñaranda, etc.).
• - The main altarpiece of the Cathedral of Seville, considered one of the largest in Christianity, made over a long period (between 1482 and 1564) by Pedro Dancart, the Master Marco"), Pedro Millán, Jorge Fernández "Jorge Fernández (sculptor)"), Roque Balduque, Juan Bautista Vázquez the Elder and Pedro de Heredia "Pedro de Heredia (sculptor)").
• - The altarpiece, oratory or polyptych of Isabella the Catholic (ca. 1496-1504), by Juan de Flandes and Michael Sittow (Melchior Alemán), a portable devotional altarpiece, now dismantled, of which twenty-eight of the forty-seven original panels are preserved, where the cycle of the lives of the Virgin and Christ was developed.
• - The main altarpiece of the Miraflores Charterhouse (Burgos), by Gil de Siloé (1496-1499).
• - Gothic altarpieces in the Iberian Peninsula (2nd half s.).
• - Altarpiece of Saints Michael and Hippolytus in Palau-del-Vidre, by Arnaud Gassies") (1454), known as the "glassmakers' altarpiece" (craft that gives its name to that town).[58].
• - 'Altarpiece of the life of the Virgin and Saint Francis"), by Nicolás Francés (1445-1460).[59].
• - The so-called "Avis panels" or "Saint Vincent de Fora panels" (Altarpiece of São Vicente de Fora")), by Nuno Gonçalves, ca. 1470.
• - Saint Anthony and Saint Christopher, detail of the main altarpiece of the church of San Benito de Calatrava (Seville), from the workshop of Juan Sánchez de Castro (ca. 1470).[60].
• - Altarpiece of San Pedro, by Martín de Soria (ca. 1480).
• - Altarpiece from the chapel of San Sebastián and Santa Tecla in Barcelona Cathedral, from the workshop of Jaume Huguet (1486-1498).
• - Main altarpiece of the Miraflores Charterhouse, by Gil de Siloé (1496-1499).
• - Main altarpiece of the church of Santa María la Mayor (Trujillo) "Iglesia de Santa María la Mayor (Trujillo)"), by Fernando Gallego (ca. 1485).
• - Main altarpiece of the Cathedral of Tudela, by Pedro Díaz de Oviedo and Diego del Águila").[61].
• - Main altarpiece of the church of the Monastery of Santa María de El Paular, probably from the workshop of Juan Guas (end of the century), made of polychrome alabaster.
• - The main altarpiece of the Toledo Cathedral, where Felipe Bigarny, Sebastián de Almonacid, Petit Juan or Juan de Borgoña (1497-1504) participated. The novel incorporation of the transparent or dressing room, a formula of great later success.* The main altarpiece of the cathedral of Ávila (1499-1508), where Pedro Berruguete, Juan de Borgoña and the then young Vasco de Zarza took part. Curiously, years later, in 1525, Zarza created together with the young Alonso Berruguete (son of Pedro) the main altarpiece of the Mejorada de Olmedo monastery"), already with Renaissance criteria.[62].
• - The main altarpiece of the cathedral of Oviedo, made by a team of artists led by Giralte of Brussels") (1512-1517).
• - The main altarpiece of the Basilica of Lequeitio, by an unknown sculptor (probably from the Spanish-Flemish circle of Gil de Siloé and Alejo de Vahía), gilded and polychrome by Juan García Crisal") (1514).
• - The main altarpiece of the Church of San Juan Bautista "Iglesia de San Juan Bautista (Camarena)") of Camarena. With paintings by Juan de Borgoña and sculptures by Copín de Holland (1516-1517).
• - The main altarpiece of the Cathedral of Ourense, by Cornelis de Holland (beginning of the century).[63].
• - Gothic altarpieces in the Iberian Peninsula (s.).
• - Altarpiece of Saint Catherine (ca. 1500), by Francisco Gallego "Francisco Gallego (painter)").
• - Main altarpiece of the Toledo Cathedral (1497-1504).
• - Main altarpiece of the Ávila cathedral.
• - Main altarpiece of the cathedral of Oviedo (1512-1517).
• - Main altarpiece of the Basilica of Lequeitio (1514).
• - Main Altarpiece of the Church of San Juan Bautista "Iglesia de San Juan Bautista (Camarena)") of Camarena (1516-1517).
• - Passion Altarpiece, by Conrad Soest (1403), in the Evangelische Stadtkirche in Bad Wildungen.
• - Altarpiece of the Magdalene, by Lukas Moser (1431).
• - The so-called "Tucher altar"), by the so-called Master of the Tucher altar")[82] (Nuremberg, ca. 1440-1450).
• - Altarpiece of the Three Wise Men&action=edit&redlink=1 "Altarpiece of the Three Wise Men (Stefan Lochner) (not yet written)") (Dreikönigsaltar)[83] in the Cologne Cathedral, by Stefan Lochner (1445).
• - Southern German domestic devotional altarpiece (ca. 1500). The lateness of the date shows the survival of a conservative taste in an era in which Renaissance forms would end up imposing themselves.
• - Třeboň or Wittingau altarpiece (ca. 1380).
• - Mount of Olives.
• - Burial of Christ.
• - Resurrection of Christ.
• - Main altarpiece of Santa María Coronada (Medina Sidonia)&action=edit&redlink=1 "Santa María Coronada (Medina Sidonia) (not yet written)"), by Roque Balduque.[152].
• - Main altarpiece of the church of Santa Ana (Seville) "Church of Santa Ana (Seville)"), by the painter Pedro de Campaña and the sculptor Pedro Delgado&action=edit&redlink=1 "Pedro Delgado (sculptor) (not yet written)") (1557).[153].
• - Main altarpiece of the church of San Román (Toledo) "Iglesia de San Román (Toledo)"), by Diego Velasco de Ávila the Elder") (1553).
• - Altarpiece of the Hospital of Santa Cruz "Hospital de Santa Cruz (Toledo)") (Toledo), today in San Juan de los Reyes, by Felipe Bigarny and Francisco de Comontes (1541-1552).[154].
Other notable examples of an altarpiece from Escurial are the largest in the collegiate church of San Luis de Villagarcía de Campos (Valladolid), designed by Juan de Herrera and carved by Juan Sáez de Torrecilla"),[157] or the one that presides over the Valladolid church of San Miguel and San Julián "Iglesia de San Miguel y San Julián (Valladolid)"), work by Adrián Álvarez").[158][159].
• - Main altarpiece of San Miguel and San Julián of Valladolid.
• - Main altarpiece of the church of San Pedro de Zumaya, by Juan de Ancheta. In the same church there are other notable altarpieces.
• - Altarpiece from the Chapel of Saints Michael, Gabriel and Raphael in the Cathedral of Zaragoza, by Juan de Ancheta.
• - Main altarpiece of San Jerónimo in Granada, by Pablo de Rojas.
• - Main altarpiece of the church of the Yuste monastery, with the copy of La Gloria "The Glory (Tiziano)") by Titian -The altarpiece of the Last Judgment in the monastic church of Yuste-.
• - Main altarpiece of Saint Dominic the Ancient (Toledo), painted by El Greco.
• - Altarpiece of the Souls of the Last Judgment, by Nicolás Borrás (1574).[160].
• - Hypothetical reconstruction of the altarpiece of Doña María de Aragón, by El Greco (1596-1599).
• - Main altarpiece of the church of the monastery of Las Huelgas Reales (Valladolid) "Monastery of Las Huelgas Reales (Valladolid)"), by Francisco de Praves, Gregorio Fernández and Tomás de Prado,[183] 1613.
• - Altarpieces from the Getafe Cathedral. The largest, traced by Alonso Carbonel (1612-1618); Alonso Cano intervened in the minors.
• - Altarpiece of the chapel of Santa Ana in the Church of Santa Cruz (Seville) "Iglesia de Santa Cruz (Sevilla)"), by Bernardo Simón de Pineda, Valdés Leal and Pedro Roldán, 1670-1672. In the same church there are other notable altarpieces.
• - Main altarpiece of the church of Santa Eugenia (Becerril de Campos) "Iglesia de Santa Eugenia (Becerril de Campos)"), which also preserves other notable altarpieces.
• - Main altarpiece of the Cathedral of Córdoba, where, among others, Antonio Palomino took part.
• - Main altarpiece and sides of the church of the Convent of La Encarnación&action=edit&redlink=1 "Convent of La Encarnación (Baeza) (not yet written)") (Baeza).
A periodization has been proposed in three phases ("prolongation of classicism" in the first third of the century, "castizo altarpiece" or "genuinely Hispanic" in the second half of the century - a phase subdivided into a first part, characterized by the Solomonic columns, and a second, by the "Estípite (architecture)" stipes), and "rococo altarpiece" in the first half of the century. ).[184].
• - Tabernacle of the Charterhouse of Granada, by Francisco Hurtado Izquierdo.
• - Sacristy of the Charterhouse of Granada, by himself and other artists.
• - Altarpiece of the Assumption "Altarpiece of the Assumption (Ourense Cathedral)") (Orense), by Mateo de Prado and Bernardo Cabrera (1657-1658).
• - Altarpiece of the Conversion of Saint Paul "Altarpiece of the Conversion of Saint Paul (Ourense Cathedral)") (Orense), by Mateo de Prado and Bernardo Cabrera (1656).
• - Main altarpiece of the church of the Hospital de la Caridad (Seville) "Hospital de la Caridad (Sevilla)"), designed by Bernardo Simón de Pineda, carvings by Pedro Roldán, gilding and polychrome by Valdés Leal (1670-1675).
• - Monasterio de San Salvador (Celanova) "Monastery of San Salvador (Celanova)"), by Francisco de Castro Canseco.[185].
• - Main altarpiece of the church of the convent of San Esteban de Salamanca "Convento de San Esteban (Salamanca)"), by José de Churriguera, (1692).
• - Altarpiece of Saint John "Altarpiece of Saint John (Ourense Cathedral)") (Orense), by Benito Rodríguez Muxica (1695).
• - Transparent of the Cathedral of Toledo, by Narciso Tomé, 1729-1732.
• - Main altarpiece of the church of San Miguel (Murcia) "Iglesia de San Miguel (Murcia)") by Francisco Salzillo, 1731.
• - Main altarpiece of San Martín Pinario (Santiago de Compostela).
• - Main and lateral altarpiece of the church of San Francisco de Asís in Goa.
• - Main altarpiece of the Goa cathedral.
• - The Quejana altarpiece") (1397).[50].
• - Those due to Gherardo Starnina (altarpiece in the chapel of the Savior of the Cathedral of Toledo from 1395, and the altarpiece of Brother Bonifacio Ferrer", Valencia, from 1398-1401).
• - Gothic altarpieces in the Iberian Peninsula (s.).
• - Altarpiece of San Marcos in the Collegiate Church of Santa María (Manresa), by Arnau Bassa (1346).
• - Old main altarpiece of the Barcelona Cathedral, now relocated (initial structure from 1356-1367).
• - Altarpiece of All Saints from the monastery of Sant Cugat (San Cucufate, in San Cugat del Vallés), by Pere Serra (1375).
• - Altarpiece of the Holy Spirit in the Seu of Manresa "Collegiate Basilica of Santa María (Manresa)"), by Pere Serra (ca. 1394).
• - Quejana Altarpiece") (1397).
• - Altarpiece by Francesc Comes (Mallorca, ca. 1400).
• - The altarpiece of Archbishop Don Sancho de Rojas") (1415-1420),[52] from the Monastery of San Benito de Valladolid, attributed to Juan Rodríguez de Toledo (who was probably influenced by Italian painters such as Starnina).[53].
• - The main altarpiece of the Old Cathedral of Salamanca, by Nicolás Florentino y Dello Delli (1430-1450).
• - The old main altarpiece of the cathedral of León, now dismantled, by Nicolás Francés (ca. 1434).[54].
• - The main altarpiece of the Seo (Zaragoza, 1434-1480), by Pere Johan and Hans of Suabia, carved in alabaster.
• - Those due to Bernat Martorell, who developed extensive altarpiece work in the middle of the century (Altarpiece of the Transfiguration") of the Barcelona Cathedral, Altarpiece of the Saints Juanes of Vinaixa, Altarpiece of Saint Michael of La Pobla de Cervoles, Altarpiece of Saint Peter of Púbol, Altarpiece of Saint Mary Magdalene of Perella, Altarpiece of Saint Vincent of Menàrguens, etc.).
• - The altarpiece of the chapel of the City House of Barcelona, by the painter Lluis Dalmau and the carpenter Francesc Gomar") (1443-1445). Only the main panel, called Virgen dels Consellers, is preserved.
• - The altarpiece of Peralta de la Sal (1450-1456), by Jaume Ferrer II and Pedro García de Benavarre, interpreted as a transition between international Gothic and the influence of the Flemish primitives (specifically by Robert Campin).[55].
• - Gothic altarpieces in the Iberian Peninsula (1st half s.).
• - Gothic altarpiece from the Monastery of Santes Creus, by Guerau Gener and Lluís Borrassà (1407-1411).
• - Altarpiece of Santa Tecla, by Pere Johan, in the cathedral of Tarragona (1426).
• - Main altarpiece of the Old Cathedral of Salamanca, by Nicolás Florentino y Dello Delli (1430-1450).
• - Main altarpiece of the Seo (Zaragoza), by Pere Johan and Hans of Suabia (1434-1480).
• - Altarpiece of the Mare de Deu de l'Escala of the monastery of San Esteban (Bañolas) "Monastery of San Esteban (Bañolas)"), by Joan Antigó (1437).
• - The Virgen dels consellers by Lluis Dalmau (Barcelona, 1445) presents a structure very similar to that of Santo Domingo de Bermejo, in this case arranged in the architectural environment typical of the altarpieces.
• - Altarpiece from the Transfiguration chapel of Barcelona Cathedral, by Bernat Martorell (1445-1452).
• - Those due to Nuno Gonçalves ("Avis panels")" or "of San Vicente de Fora")", ca. 1470)[56] and the so-called "Portuguese primitives" (see also Portuguese Gothic#Painting).
• - The altarpiece of the church of Santo Domingo de Silos de Daroca, with a central panel by Bartolomé Bermejo and the rest by Martín Bernat (1474-1477). Currently dismantled, Bermejo's panel "Santo Domingo de Silos (Bartolomé Bermejo)") is one of the most outstanding works of the Prado Museum.
• - Those due to Fernando Gallego, who developed extensive altarpiece work at the end of the century (altarpieces of the cathedral of Zamora - the altarpiece of San Ildefonso and the main altarpiece, today disintegrated into the "tables of Arcenillas")",[57] altarpiece of the cathedral of Ciudad Rodrigo, altarpiece of Santa María la Mayor of Trujillo, altarpiece of the church of the Asunción of El Campo of Peñaranda, etc.).
• - The main altarpiece of the Cathedral of Seville, considered one of the largest in Christianity, made over a long period (between 1482 and 1564) by Pedro Dancart, the Master Marco"), Pedro Millán, Jorge Fernández "Jorge Fernández (sculptor)"), Roque Balduque, Juan Bautista Vázquez the Elder and Pedro de Heredia "Pedro de Heredia (sculptor)").
• - The altarpiece, oratory or polyptych of Isabella the Catholic (ca. 1496-1504), by Juan de Flandes and Michael Sittow (Melchior Alemán), a portable devotional altarpiece, now dismantled, of which twenty-eight of the forty-seven original panels are preserved, where the cycle of the lives of the Virgin and Christ was developed.
• - The main altarpiece of the Miraflores Charterhouse (Burgos), by Gil de Siloé (1496-1499).
• - Gothic altarpieces in the Iberian Peninsula (2nd half s.).
• - Altarpiece of Saints Michael and Hippolytus in Palau-del-Vidre, by Arnaud Gassies") (1454), known as the "glassmakers' altarpiece" (craft that gives its name to that town).[58].
• - 'Altarpiece of the life of the Virgin and Saint Francis"), by Nicolás Francés (1445-1460).[59].
• - The so-called "Avis panels" or "Saint Vincent de Fora panels" (Altarpiece of São Vicente de Fora")), by Nuno Gonçalves, ca. 1470.
• - Saint Anthony and Saint Christopher, detail of the main altarpiece of the church of San Benito de Calatrava (Seville), from the workshop of Juan Sánchez de Castro (ca. 1470).[60].
• - Altarpiece of San Pedro, by Martín de Soria (ca. 1480).
• - Altarpiece from the chapel of San Sebastián and Santa Tecla in Barcelona Cathedral, from the workshop of Jaume Huguet (1486-1498).
• - Main altarpiece of the Miraflores Charterhouse, by Gil de Siloé (1496-1499).
• - Main altarpiece of the church of Santa María la Mayor (Trujillo) "Iglesia de Santa María la Mayor (Trujillo)"), by Fernando Gallego (ca. 1485).
• - Main altarpiece of the Cathedral of Tudela, by Pedro Díaz de Oviedo and Diego del Águila").[61].
• - Main altarpiece of the church of the Monastery of Santa María de El Paular, probably from the workshop of Juan Guas (end of the century), made of polychrome alabaster.
• - The main altarpiece of the Toledo Cathedral, where Felipe Bigarny, Sebastián de Almonacid, Petit Juan or Juan de Borgoña (1497-1504) participated. The novel incorporation of the transparent or dressing room, a formula of great later success.* The main altarpiece of the cathedral of Ávila (1499-1508), where Pedro Berruguete, Juan de Borgoña and the then young Vasco de Zarza took part. Curiously, years later, in 1525, Zarza created together with the young Alonso Berruguete (son of Pedro) the main altarpiece of the Mejorada de Olmedo monastery"), already with Renaissance criteria.[62].
• - The main altarpiece of the cathedral of Oviedo, made by a team of artists led by Giralte of Brussels") (1512-1517).
• - The main altarpiece of the Basilica of Lequeitio, by an unknown sculptor (probably from the Spanish-Flemish circle of Gil de Siloé and Alejo de Vahía), gilded and polychrome by Juan García Crisal") (1514).
• - The main altarpiece of the Church of San Juan Bautista "Iglesia de San Juan Bautista (Camarena)") of Camarena. With paintings by Juan de Borgoña and sculptures by Copín de Holland (1516-1517).
• - The main altarpiece of the Cathedral of Ourense, by Cornelis de Holland (beginning of the century).[63].
• - Gothic altarpieces in the Iberian Peninsula (s.).
• - Altarpiece of Saint Catherine (ca. 1500), by Francisco Gallego "Francisco Gallego (painter)").
• - Main altarpiece of the Toledo Cathedral (1497-1504).
• - Main altarpiece of the Ávila cathedral.
• - Main altarpiece of the cathedral of Oviedo (1512-1517).
• - Main altarpiece of the Basilica of Lequeitio (1514).
• - Main Altarpiece of the Church of San Juan Bautista "Iglesia de San Juan Bautista (Camarena)") of Camarena (1516-1517).
• - Passion Altarpiece, by Conrad Soest (1403), in the Evangelische Stadtkirche in Bad Wildungen.
• - Altarpiece of the Magdalene, by Lukas Moser (1431).
• - The so-called "Tucher altar"), by the so-called Master of the Tucher altar")[82] (Nuremberg, ca. 1440-1450).
• - Altarpiece of the Three Wise Men&action=edit&redlink=1 "Altarpiece of the Three Wise Men (Stefan Lochner) (not yet written)") (Dreikönigsaltar)[83] in the Cologne Cathedral, by Stefan Lochner (1445).
• - Southern German domestic devotional altarpiece (ca. 1500). The lateness of the date shows the survival of a conservative taste in an era in which Renaissance forms would end up imposing themselves.
• - Třeboň or Wittingau altarpiece (ca. 1380).
• - Mount of Olives.
• - Burial of Christ.
• - Resurrection of Christ.
• - Main altarpiece of Santa María Coronada (Medina Sidonia)&action=edit&redlink=1 "Santa María Coronada (Medina Sidonia) (not yet written)"), by Roque Balduque.[152].
• - Main altarpiece of the church of Santa Ana (Seville) "Church of Santa Ana (Seville)"), by the painter Pedro de Campaña and the sculptor Pedro Delgado&action=edit&redlink=1 "Pedro Delgado (sculptor) (not yet written)") (1557).[153].
• - Main altarpiece of the church of San Román (Toledo) "Iglesia de San Román (Toledo)"), by Diego Velasco de Ávila the Elder") (1553).
• - Altarpiece of the Hospital of Santa Cruz "Hospital de Santa Cruz (Toledo)") (Toledo), today in San Juan de los Reyes, by Felipe Bigarny and Francisco de Comontes (1541-1552).[154].
Other notable examples of an altarpiece from Escurial are the largest in the collegiate church of San Luis de Villagarcía de Campos (Valladolid), designed by Juan de Herrera and carved by Juan Sáez de Torrecilla"),[157] or the one that presides over the Valladolid church of San Miguel and San Julián "Iglesia de San Miguel y San Julián (Valladolid)"), work by Adrián Álvarez").[158][159].
• - Main altarpiece of San Miguel and San Julián of Valladolid.
• - Main altarpiece of the church of San Pedro de Zumaya, by Juan de Ancheta. In the same church there are other notable altarpieces.
• - Altarpiece from the Chapel of Saints Michael, Gabriel and Raphael in the Cathedral of Zaragoza, by Juan de Ancheta.
• - Main altarpiece of San Jerónimo in Granada, by Pablo de Rojas.
• - Main altarpiece of the church of the Yuste monastery, with the copy of La Gloria "The Glory (Tiziano)") by Titian -The altarpiece of the Last Judgment in the monastic church of Yuste-.
• - Main altarpiece of Saint Dominic the Ancient (Toledo), painted by El Greco.
• - Altarpiece of the Souls of the Last Judgment, by Nicolás Borrás (1574).[160].
• - Hypothetical reconstruction of the altarpiece of Doña María de Aragón, by El Greco (1596-1599).
• - Main altarpiece of the church of the monastery of Las Huelgas Reales (Valladolid) "Monastery of Las Huelgas Reales (Valladolid)"), by Francisco de Praves, Gregorio Fernández and Tomás de Prado,[183] 1613.
• - Altarpieces from the Getafe Cathedral. The largest, traced by Alonso Carbonel (1612-1618); Alonso Cano intervened in the minors.
• - Altarpiece of the chapel of Santa Ana in the Church of Santa Cruz (Seville) "Iglesia de Santa Cruz (Sevilla)"), by Bernardo Simón de Pineda, Valdés Leal and Pedro Roldán, 1670-1672. In the same church there are other notable altarpieces.
• - Main altarpiece of the church of Santa Eugenia (Becerril de Campos) "Iglesia de Santa Eugenia (Becerril de Campos)"), which also preserves other notable altarpieces.
• - Main altarpiece of the Cathedral of Córdoba, where, among others, Antonio Palomino took part.
• - Main altarpiece and sides of the church of the Convent of La Encarnación&action=edit&redlink=1 "Convent of La Encarnación (Baeza) (not yet written)") (Baeza).
A periodization has been proposed in three phases ("prolongation of classicism" in the first third of the century, "castizo altarpiece" or "genuinely Hispanic" in the second half of the century - a phase subdivided into a first part, characterized by the Solomonic columns, and a second, by the "Estípite (architecture)" stipes), and "rococo altarpiece" in the first half of the century. ).[184].
• - Tabernacle of the Charterhouse of Granada, by Francisco Hurtado Izquierdo.
• - Sacristy of the Charterhouse of Granada, by himself and other artists.
• - Altarpiece of the Assumption "Altarpiece of the Assumption (Ourense Cathedral)") (Orense), by Mateo de Prado and Bernardo Cabrera (1657-1658).
• - Altarpiece of the Conversion of Saint Paul "Altarpiece of the Conversion of Saint Paul (Ourense Cathedral)") (Orense), by Mateo de Prado and Bernardo Cabrera (1656).
• - Main altarpiece of the church of the Hospital de la Caridad (Seville) "Hospital de la Caridad (Sevilla)"), designed by Bernardo Simón de Pineda, carvings by Pedro Roldán, gilding and polychrome by Valdés Leal (1670-1675).
• - Monasterio de San Salvador (Celanova) "Monastery of San Salvador (Celanova)"), by Francisco de Castro Canseco.[185].
• - Main altarpiece of the church of the convent of San Esteban de Salamanca "Convento de San Esteban (Salamanca)"), by José de Churriguera, (1692).
• - Altarpiece of Saint John "Altarpiece of Saint John (Ourense Cathedral)") (Orense), by Benito Rodríguez Muxica (1695).
• - Transparent of the Cathedral of Toledo, by Narciso Tomé, 1729-1732.
• - Main altarpiece of the church of San Miguel (Murcia) "Iglesia de San Miguel (Murcia)") by Francisco Salzillo, 1731.
• - Main altarpiece of San Martín Pinario (Santiago de Compostela).
• - Main and lateral altarpiece of the church of San Francisco de Asís in Goa.