Medieval and renaissance echoes in the 20th century: iconography, memory, and identity on the ceiling of the church of Santa Maria Maior, Covilhã (Portugal)
CASTILHO, M.L.C. ; SANTOS-LUiZ, C. ; OLIVEIRA, J.C. (2023) - Medieval and renaissance echoes in the 20th century: iconography, memory, and identity on the ceiling of the church of Santa Maria Maior, Covilhã (Portugal). In: Raposo, D. [et al.] (eds) - Advances In Design, Music and Arts II : EIMAD 2022. ISSN 2661-8192. SSDI.Vol 25, p. 603-624. https://doi.org/10.1007/978-3-031-09659-4_44 .
978-3-031-09659-4
2661-8192
Title
Medieval and renaissance echoes in the 20th century: iconography, memory, and identity on the ceiling of the church of Santa Maria Maior, Covilhã (Portugal)
Located in the historic area of Covilhã (Portugal), the Church of Santa Maria Maior has its origins in the Medieval era and was rebuilt in the 16th century. It underwent changes over time, and was, by the end of the 19th century, subjected to profound works that changed its typology. In the following century, more precisely in 1942, it was again profoundly restored. In 1943, its roof collapsed. Following its repair, a set of commissioned ceiling paintings were carried out by Professor António Esteves Lopes - also known as “Lopes da Covilhã” - a painter and promoter of multiple artistic areas in the Portuguese Beira Baixa region. The paintings comprise, to this date, ten different scenes with musical iconography, depicting musician angels, who play various instruments (chordophones and aerophones). Despite the epoch in which they were made - the 20th century -, these images try to recreate environments from the Middle Ages and the Renaissance. It is the goal of this chapter, to describe, analyze, and ichnographically/iconologically study these paintings, applying a historical and organological framing. The painter's aesthetic options and the medievalist and renaissance influence present in this artwork will also be addressed. info:eu-repo/semantics/publishedVersion
