Аллегорическое истолкование античных образов в искусстве романизма в Испании.
The Allegorical Interpretation of Classical Images in the Art of Romanism in Spain.

Summary/Abstract: The Romanism was not the center of attention of the Western European and Russian historiography and was interpreted as the art of decadence, of low artistic level, not national, the art being ordered by Power. The theme of Classical Images in the Art of Spain and in the Art of Romanism in Spain has not so far been enough investigated. But the specific features of interpretation of classical images in painting of Romanism in Spain of the end of the 16th – beginning of the 17th centuries show the originality of this complicated period in the development of Spanish Art. Heroic interpretation of Classical Images in Spanish Art of 16th century gave way to allegorical interpretation of them. An interesting example of a monument of Romanism in Spain is the decoration of the library of Escorial (1592) that was made according to the Programme prepared by a Spanish scholar Arias Montano and a librarian and historiographer of Escorial padre Jose de Siguenza. The Italian painters Pellegrino Tibaldi (1541–1583), Niccolo Granello (died in 1593) and Bartolome Carducho (1560–1608) took part in the decoration of the library. Formally the composition duplicates the decoration of the Sistine Chapel by Michelangelo, but the sense of decoration is different. The programme illustrates the way of preparation to understanding of Theology through studying of Philosophy and the seven Liberal Arts. Allegorical Images here are the Divinities. Classical gods, scholars, poets, mythological characters present in the context of the ensemble not themselves but the districts of knowledge, in which they distinguished themselves. This and similar programmes were created for intellectuals, who were able to understand its sense.

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