Alonso Berruguete, Reinassance Sculptor - Page 23

Fig. 15. Bartolomé Ordóñez
& Diego de Siloe, Epiphany,
marble, Caracciolo Chapel,
San Giovanni a Carbonara,
Fig. 16. Bartolomé Ordóñez,
Martyrdom of Santa Eulalia.
alabaster, Barcelona Cathedral.
Michelangelo, referring to the artist’s Slaves designed originally for
of completing for the city’s basilica del Pilar. Although Forment
the beautiful Martyrdom of Santa Eulalia (fig. 16). Commenting on
the tomb of Pope Julius II but eventually presented to the French
has been seen by some as one of the introducers of Renaissance
this and other reliefs of the Entombment and Via Dolorosa, Wethey
Just as Fancelli was finishing the monument to Isabella and
king. But there were many similar Saint Sebastians, in stone and on
style into Spain, there is no evidence that he visited Italy, and
comments, “Donatello, indubitably his source of inspiration,
Ferdinand in the Capilla Real, the Castilian sculptor Bartolomé
panel, which Siloe no doubt also saw, for example those by Antonio
the retable in Saragossa is essentially Late-Gothic in format
would have approved these reliefs, so poignantly conceived.”55
Ordóñez (ca. 1480-1520) is documented in Naples paying for 93
Rosselino, Benedetto da Maiano, Andrea Mantegna, and Antonio
and style. As Rosario Coppel notes in this volume, Forment’s
He describes the heroic physiques in other reliefs, such as the
cartloads of white marble from Carrara. Ordóñez and Diego de
del Pollaiuolo.
training in Valencia led him to come into contact with local
Drunkenness of Noah, to those created by Michelangelo in the Sistine
early Renaissance artists such as Llanos and Yáñez de Almedina
Chapel, and sees echoes of these in later works by Diego de Siloe
Holanda’s “eagles”
Siloe (ca. 1495-1563) – the son of Gil de Siloe who produced the
altarpiece of Santa Ana discussed above – were included by Vasari’s
After Naples, Ordóñez appeared in Barcelona Cathedral in 1517,
who had returned from Florence by 1506.53 The Renaissance
(although the younger man is not documented in Barcelona). The
Iberian rival, Francisco de Holanda, as two of the four “eagles” of
where preparations were being made for the Emperor Charles
touches in Forment’s early work may be a reflection of this
final works commissioned from Ordóñez, started in the same year,
Spanish art along with Alonso Berruguete and Pedro Machuca.
V’s Nineteenth Chapter of the Order of the Golden Fleece. By
“second-hand” knowledge and in no way approximate the style
were the tombs of Joanna and Philip left unfinished by Domenico
Ordóñez and Siloe were working in Naples on the altar of the
1518, Charles’ court had arrived in Saragossa provoking a flurry
introduced a few years later by Ordóñez, Siloe and Berruguete.
Fancelli, and the sculptor promptly travelled to Carrara to
Epiphany in the Caracciolo Chapel, in the church of San Giovanni
of artistic activity over the following months including Fancelli’s
a Carbonara (fig. 15). According to Manuel Gómez-Moreno, most
commission for the tomb of the Emperor’s parents, Joanna and
Bartolomé Ordóñez’s first task in Barcelona was to redecorate the
himself would leave another commission, the tomb of Archbishop
of the sculptures and low reliefs are the work of the probably
Philip, in the Capilla Real in Granada. Ordóñez must have
choirstalls, adding Renaissance colonnettes and grotesques to the
Cisneros, unfinished. Work in the Capilla Real was, on the other
older Ordóñez, but he attributed to Siloe the Saint Sebastian.
been aware of this activity and of the magnificent alabaster
seats carved by Catalan craftsmen some fifty years earlier. He
hand, largely complete, and the monument we see there today is
retable which the Valencian Damián Forment was in the process
was also contracted to produce reliefs for the retrochoir including
the one his executors shipped to Spain at this time.56
Gómez-Moreno drew a parallel between this figure and those of
continue Fancelli’s work. The untimely death in 1520 of Ordóñez

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