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Sarcófagos romanos al servicio del mundo funerario de los Reyes de Aragón. Se analiza el valor iconográfico asimilado en en las reutilizaciones llevadas a cabo.
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It is analyzed the role played by Roman sarcophagi in Spanish antiquarian collections, tracing a route from the few erudite references from the 14th century that can mention a piece of this type to the known news about its inclusion in the antiquarian market and private collections of the 20th century in Spain. A total of 36 pieces are considered, the majority are Roman originals and only 3 belongs to modern copies of outstanding metropolitan sarcophagi. Compared to other European countries such as Italy, Germany or England, it is noticed a greater dispersion and scarcity of references to the collection of sarcophagi during the entire period of development of antiquarian activity in Spanish society. This shows a correlation with the scant panorama of sarcophagus finds in Spanish territory from the Renaissance onwards, as well as with the limited interest in the importation of pieces of this genre from Italy by the personalities who gathered the most outstanding collections of the country.
From the end of the 15th century until the 30s of the 16th century, the use of the Roman sarcophagus was detected in the cultural and artistic circles of Spanish society. This article deals with different forms of recovery of these ancient reliefs, such as the collection of sarcophagi exhumed in Hispanic lands, which were collected and studied by local scholars, trained in distinguished Italian Renaissance circles. There are also cases of more or less reliable copies and creations of images reproduced in well-known Italian sarcophagi or in others preserved in Spanish religious buildings that several modern sculptors used to update their own artistic language or to incorporate the classical model so widespread in the art of Italy. Finally, the dissolution of this sarcophagic repertoire recovered from the past is verified in the new forms of artistic expression distinctive of the advanced Renaissance.
Ambrosio Ambrosiani nació en la ciudad de Rivello, provincia de Basilicata, en el antiguo reino de Nápoles. En el último cuarto del siglo XVIII emigró a España, posiblemente terminada ya su formación de platero. Parece que pasó por Badajoz capital, para luego afincarse en Fuente de Cantos (Badajoz), donde contrajo un primer matrimonio. - Tras enviudar trasladó su taller a Utrera hacia el año 1802, donde contrajo un segundo matrimonio, afincándose finalmente en Sevilla, contando con obrador en la Plaza San Francisco. - Su segunda mujer era natural de Algatocín, de ahí su vinculación familiar y profesional con la Serranía de Ronda. Esta relación explica el por qué prepararía su retiro y jubilación, comprando tierras entre Algatocín y Gaucín. - Además de abordar su biografía es necesario reseñar su obra dispersa por la geografía española: Fuente de Cantos, Marchena, Carmona, El Coronil, Sevilla, Ronda, Sanlúcar de Barrameda y Málaga.
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en: J. M. Abascal et alii (eds.), Estudios de Historia Antigua en homenaje al Prof. Manuel Abilio Rabanal, Sevilla – León 2012, 149-184. ISBN 978-84-472-1399-3 (Sevilla) y 978-84-9773-607-7 (León).
Inscripciones romanas de Aragón y Cataluña en manuscritos de la Real Academia de la Historia2011 •
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