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O mosteiro de Santa Maria da Vitória no século XVI as Capelas Imperfeitas e o Renascimento em Portugal
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No primeiro terço do século XVI cruzaram-se no obradoiro da Batalha os
percursos de dois dos mais influentes construtores quinhentistas – João de Castilho
e Miguel Arruda – que aqui terão experimentado, como num laboratório, novas
técnicas e estéticas, a coberto da brisa cultural de matriz humanista que então
soprou, fugazmente, na corte joanina.
Desta fase tão pouco estudada do estaleiro batalhino chegou até nós a janela
renascentista das Capelas Imperfeitas, datada de 1533, com o seu exuberante
entablamento, um registo maneirista precoce no ambiente artístico nacional, então
dominado pela persistência do já esgotado modo manuelino. O que hoje sabemos
sobre tão surpreendente intervenção permite-nos inferir que ela foi absolutamente
determinante na definição dos caminhos do Renascimento em Portugal,
confirmando o pioneirismo de sempre da profícua fábrica de Santa Maria da
Vitória.
Contudo, as disposições testamentárias d'O Venturoso relativas ao
acabamento do mausoléu batalhino1 ficaram adiadas sine die. D. João III, guiado
por opções estratégicas distintas das de seu pai, acabaria por concentrar-se noutras
obras, nomeadamente em Évora e Tomar, não sem antes ter ensaiado na Batalha o
seu primeiro projecto de tumulação. Em 1533, Miguel de Arruda dava início na
Batalha à reforma joanina das instalações monásticas, obra perdida. Por essa altura
as Capelas Imperfeitas foram palco da metamorfose do arquitecto João de Castilho:
de superlativo agente manuelino na nacionalização do tardo-gótico, transformou-se
num diligente intérprete da nova linguagem clássica de matriz transalpina.
Abstract: In the first third of the sixteenth century, two of the most influential builders of the time – João de Castilho and Miguel Arruda – crossed paths in the workshop of the Batalha Monastery. There, they are thought to have experimented, as if in a laboratory, new techniques and aesthetics, following the humanist cultural breeze that then blew, fleetingly, in the johannine court. From this little-studied phase of the Batalha workshop, came to us the Renaissance window of the Unfinished Chapels, dated 1533. With its lush entablature, the window had an early mannerist registration in the national art scene, which was then dominated by the persistence of the already exhausted manueline style. What we know today about this surprising intervention allows us to infer that it was absolutely crucial in defining the ways of the Renaissance in Portugal, confirming the pioneering spirit of the always-fruitful factory of Santa Maria da Vitória . However, the testamentary dispositions of The Fortunate regarding the finishing of Batalha’s mausoleum2 were adjourned sine die. King John III, guided by strategic options distinct from those of his father, eventually focused on other works, particularly in Évora and Tomar, though he first tested his first funerary project in the monastery of Batalha. In 1533, Miguel de Arruda initiated the johannine reform of Batalha’s monastic facilities, work that was lost. By that time, the Unfinished Chapels were stage to the metamorphosis of architect João de Castilho: from a superlative Manueline agent in the nationalisation of the late Gothic, he then became a diligent interpreter of the new classical transalpine language.
Abstract: In the first third of the sixteenth century, two of the most influential builders of the time – João de Castilho and Miguel Arruda – crossed paths in the workshop of the Batalha Monastery. There, they are thought to have experimented, as if in a laboratory, new techniques and aesthetics, following the humanist cultural breeze that then blew, fleetingly, in the johannine court. From this little-studied phase of the Batalha workshop, came to us the Renaissance window of the Unfinished Chapels, dated 1533. With its lush entablature, the window had an early mannerist registration in the national art scene, which was then dominated by the persistence of the already exhausted manueline style. What we know today about this surprising intervention allows us to infer that it was absolutely crucial in defining the ways of the Renaissance in Portugal, confirming the pioneering spirit of the always-fruitful factory of Santa Maria da Vitória . However, the testamentary dispositions of The Fortunate regarding the finishing of Batalha’s mausoleum2 were adjourned sine die. King John III, guided by strategic options distinct from those of his father, eventually focused on other works, particularly in Évora and Tomar, though he first tested his first funerary project in the monastery of Batalha. In 1533, Miguel de Arruda initiated the johannine reform of Batalha’s monastic facilities, work that was lost. By that time, the Unfinished Chapels were stage to the metamorphosis of architect João de Castilho: from a superlative Manueline agent in the nationalisation of the late Gothic, he then became a diligent interpreter of the new classical transalpine language.
Descrição
Palavras-chave
Castillo, Juan de, 1470-1552 Arruda, Miguel, 1???-1563 Mosteiro de Santa Maria da Vitória (Batalha, Portugal) - Conservação e restauro - séc.16 Renascimento - Portugal Arquitectura religiosa - Portugal - História Teses de mestrado - 2014