A Roman Chapel for Évora
The new main chapel of the Cathedral (1731- 1735) and the recognition of Agostino Masucci as a mediator of Roman-Lusitanian painting
DOI:
https://doi.org/10.14195/0870-4112_3-10_6Keywords:
King João V, 18th Century, Evora’s cathedral, Roman Painting, Agostino MasucciAbstract
The new main chapel of the Cathedral of Évora, built from 1718 onwards, constitutes an important example of the role of Art in mediating the processes of production and transmission of cultures, precisely in bridging the gap between Roman and Portuguese pictorial cultures, according to the taste and motivation of the sovereign. At the same time, it reveals that this ambitious artistic project exceeded the boundaries of the capital and the idea of a "Lisboa Romana", extending it to various cities throughout the kingdom.
At this point, Agostino Masucci (1691-1758) proves crucial, as he was entrusted with the execution of the Assumption of Our Lady for the main altar. Becoming the favorite painter of King João V shortly after the success of his work for Mafra, Masucci assumes from now on a prominent role in the king’s commissions, serving as a preeminent mediator between the two cultures, in a bilateral and reciprocal manner, especially in the creation of visual models that would develop in Italy.
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