Custody of Cordoba and the saga of the Arfe

Extreme custody Enrique Cordoba Arfe. A Masked Ball and castanets

Andl apellido con, linked in the history of Spanish art three generations of architects silversmiths filled with activity throughout the sixteenth century, has remained in the collective memory attached to some of our best custodians of seat: those of Toledo and Cordoba, important works of the master Enrique (c.1475-1545), which built his son Antonio (c.1510-1575) in Santiago de Compostela and Medina de Rio Seco or Avila, Valladolid and Seville, wrought by his grandson John (1535-1603), among some others. The importance and quality of these micro-architectures has led to the attention of scholars and the consequent existence of a copious literature.

l most attention has been John, due to the broader scope of its activity and its facet of treatise, but opinions have not always been unanimous. Of his most significant theoretical works, Silver Quilatador, gold and precious. Valladolid, 1572, Traça description and beautification of custody Silver Sancta Church of Seville, Seville, 1587 and De Varia Commensuracion for Escvlptvra and Architecture, Seville, 1585-7, was the latter, on art theory, which was more diffusion, to the point that there were eight times reedit 1585 and 1806. Throughout these two long centuries the Varia was well known and used by Spanish artists and intellectuals. Contained in many libraries of the most prestigious artists of our Golden Age, from architects Juan de Minjares or Juan Gómez de Mora and painters Diego Velázquez and Alonso Cano to Juan de Orea Silversmith. Also used by the Spanish writers of the Baroque as an important source for his writings. Francisco Pacheco considered the L. Varia II precedent of The Art of Painting. In its L. II, cap. In, treating "Drawing and parts", he used his text and its images, I compared or contrasted Dürer on the subject of human proportions and especially valued because their anatomies "… is not so much with another author in our ... "and that" ... truth wrote on the subject of muscles ... ". Fray Lorenzo de San Nicolás summarized the content of the Varia in the second part of your use of Art and Architecture. In early eighteenth-century, Antonio Palomino texts and used some sheets of L. II en su Pictorial Museum and Optical Scale and included in the Spanish Parnassus "not so much its illustrious faculty that was so far ahead; As for having been in the main part of the painting is the drawing, and silver in sculpture and architecture ".

It is well recognized explicitly Arfe the artistic qualities of the same level as that of the Spanish masters. Years later, still Ventura Rodriguez, architect and director of architecture at the Academy of Fine Arts of San Fernando, used it as a textbook and students had to copy their drawings and paragraphs of the treaty, interest test was waking up the work of the silversmith and the validity of his prints almost two centuries after its first edition.
However, excepting Palomino comments, Cean Bermudez was in his Historical Dictionary of the most distinguished teachers of the Fine Arts in Spain, published in 1800, which made the first biography of the architect and began publishing abundant unpublished documents on his life and work.

Source: FORTUNE JUAN OF CRITICISM AND VILLAFAÑE ARFE (HEREDIA CARMEN MORENO University of Alcalá). Art Magazine Archive Spanish CSIC. Flight 79, Not 316 (2006)

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