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3 The main illustrative source for ancient architecture in 10 According to Garriga, Rovira was possibly a pupil of
Spain was Cesare Cesarino’s 1521 translation of Vitruvius, Agustín Pujol the Younger, see J. GARRIGA RIERA, ‘Escultores
which, as Cesarino had never been to Rome, possibly y retablos renacentistas en Cataluña (1500–1640)’, in M.
contributed to several anachronisms and anomalies in CARMEN LACARRA (coord.), Retablos esculpidos en Aragón:
Spanish architecture during the reign of Charles V regarding del gótico al barroco, Institución Fernando el Católico
their antique and Renaissance source material. See MÜLLER (C.S.I.C.), Excma Diputación Zaragoza, Zaragoza 2002, p.
PROFUMO, El ornamento icónico cit., pp. 204–209, 299. Bosch provides what he considers evidence to believe
216–217; PÉREZ SANTAMARÍA, ‘Tradición e influencias’ cit., that Rovira apprenticed in the workshop of Pujol, see J.
p. 410; ID., ‘L’art religiós a Palafrugell’ cit., pp. 65–66. See BOSCH BALLBONA, Agustín Pujol. La culminació de l’escultura
also examples of atlantes in engravings by Marcantonio renaixentista a Catalunya, Universitat Autònoma, Survey of
Raimondi, in A. BARTSCH, The Illustrated Bartsch, New Publications, Bellaterra (Barcelona) 2009, pp. 316–317.
York 1978, vol. XXVI, pp. 296, 298; and Ibid., vol XXVII,
p. 221, and by Giulio Bonasone, Ibid., 1982, vol. XXIX, p. 11 Most of the documentation is located in the stores of the
149. Archivo de Protocolos de Barcelona (henceforward AHPB)
J. M. Madurell Marimón. In this case there are only two
4 PÉREZ SANTAMARÍA, ‘Alegorías en los órdenes atlántico’ receipts so there is no information on the work, AHPB:
cit., pp. 262–263; ID., ‘Tradición e influencias’ cit., p. 411; Amell, not. 613, vol. XIV, 14 March, 20 June.
and ID., ‘L’art religiós a Palafrugell’ cit., p. 69.
12 AHPB, Lluis Collell, not. 636, vol. XIX, 1638–1640, 5
5 The altarpiece of the parish church at Alcover (Tarragona), March 1639.
contracted in 1679 from the sculptors Francesc Grau and
Domènec Rovira (the Younger), incorporated niche figures 13 AHPB, Francesc Tries, not. 661, vol. XLVII, fols.
that we conclude are atlantes in the guise of the moral 160–162.
virtues. See PÉREZ SANTAMARÍA, ‘Alegorías en los órdenes
atlántico’ cit., pp. 263–264. This tradition possibly began 14 This contract also describes the iconography. See J. M.
with their sculpting of the tomb of Diego Girón de Rebolledo MADURELL MARIMÓN, ‘Retablos gerundenses (1570–1752)’,
(the iconographic programme of which Bosch has made a in Anales del Instituto de Estudios Gerundenses, 1951, pp.
study). While the figures included on the lower level of the 247–270.
tomb do not carry specific meanings, they are repeated on the
base of the Alcover altarpiece. See also J. BOSCH BALLBONA, 15 C. BARRAQUER Y ROVIRALTA, Las casas de religiosos en
Els tallers d’escultura al Bages del segle XVII, Caixa Cataluña durante el primer tercio del siglo XIX, I, Altés y
d’Estalvis de Manresa, Manresa 1990, pp. 226–228. Alabart, Barcelona 1906, p. 179.
Regarding the atlantes at Mataró, see PÉREZ SANTAMARÍA,
‘Alegorías en los órdenes atlántico’ cit., pp. 264–265; and 16 C. MARTINELL, Arquitectura i escultura barroques a
ID., ‘L’art religiós a Palafrugell’ cit., pp. 69–70. Again, these Catalunya. I. Els precedents. El primer barroc (1600–1670),
would appear to symbolize the continents and we have no Alpha, Barcelona 1959, vol. I, pp. 106–108
further information. Also during the same period of the
altarpiece of Mataró we find other symbols, like the tribute 17 B. BASSEGODA I AMIGÓ, Santa María de la Mar. Monografía
to the faithful (fishermen) who defrayed the costs of the històrico artística, 2 vols, Fills J. Thomas, Barcelona
retablos. See PÉREZ SANTAMARÍA, ‘Tradición e influencias’ 1925–1927, vol. I, pp. 228–235, and vol. II, appendix of
cit., p. 411; and ID., ‘L’art religiós a Palafrugell’ cit., p. 70. documents, pp. 473–485; MARTINELL, Arquitectura i
escultura barroques a Catalunya cit., pp. 70–73.
6 J. CARAMUEL, Arquitectura civil recta y oblicua..., (imp.) C.
Corrado, Vegeven 1678, p. 79. 18 BASSEGODA I AMIGÓ, Santa María de la Mar cit., vol. I,
pp. 232, 246, and vol. II, pp. 479–480; MARTINELL,
7 A. G. BRIZGUZ Y BRU, Escuela de Arquitectura Civil (1st ed. Arquitectura i escultura barroques a Catalunya cit.
1738), p. 70.
19 BASSEGODA I AMIGÓ, Santa María de la Mar cit., vol. I, pp.
8 MÜLLER PROFUMO, El ornamento icónico cit., pp. 232, 246, and vol. II, pp. 479–480.
203–205; J. VARRIANO, Italian Baroque and Rococo
Architecture, Oxford University Press, New York 1990, p. 20 Ibid., vol. I, pp. 235, 238.
188.
21 Ibid., vol. I, pp. 234–235, 247 under note 26. See also P.
9 MÜLLER PROFUMO, El ornamento icónico cit., pp. 216–217, SERRA I POSTIUS, Historia Eclesiástica del Principado de
220–221. Cataluña, Antigüedad, fundación y grandezas del templo de
Santa María del Mar, MS 186 in the Biblioteca Universitaria
de Barcelona, c. 1708, fols. 15–16.
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