Pablo Acosta-García, “En viva sangre bañadas: Caterina da Siena y las vidas de María María de Ajofrín, Juana de la Cruz, María de Santo Domingo y otras santas vivas castellanas” Archivio italiano per la storia della pietà, XXXIII (2020) 143-72. English Summary by Camila Walls Castillo (original) (raw)

Open Access: On Manuscripts, Prints and Blessed Transformations: Caterina da Siena's Legenda maior as a Model of Sainthood in Premodern Castile

Religions, 2020

In this article, I analyze the translation commissioned in 1511 by Cardinal Francisco Ximénez Cisneros of the Life of Catherine of Siena by Raimundo de Capua, which includes the legendae of Giovanna (also known as Vanna) da Orvieto and Margherita da Città di Castello in the light of its translation, commission, and reception in premodern Castile. In the first place, I clarify the medieval transformations of Caterina's text by discussing the main branches of her manuscript tradition and explaining the specificities of the editions authorized by Cisneros in order to know what exactly was printed. In the second place, I put these specificities into the courtly, prophetic context in which those books were published. Finally, I analyze the reception of these editions in the Iberian Peninsula, especially in relation to the figure of María de Santo Domingo, the famous Dominican tertiary.

Munita, J.A.; Dacosta, A.; Lema, J.A.; Paz, A.; Díaz de Durana, J.R., «En tiempo de ruidos e bandos». Nuevos textos para el estudio de los linajes vizcaínos: Los Barroeta de la merindad de Marquina (1355-1547), Vitoria, Universidad del País Vasco / Servicio Editorial, ISBN: 978-84-9860-951-6

SVMMA. Revista de Cultures Medievals 4, pp. 220-222, 2014

"Staging a woman's lineage: memory and legitimation of Duchess Aldonza de Mendoza (d. 1435)", Journal of Medieval Iberian Studies, 13-3 (2021), pp. 396-424.

Journal of Medieval Iberian Studies

An exhaustive analysis of the very last words drafted by one of the most powerful noblewomen of the fifteenth century, Duchess Aldonza de Mendoza (d. 1435), reveals that her project to transform the Hieronymite monastery of Lupiana into a pantheon might have been connected to the birth of a child outside her marriage, more precisely, to a son who had remained hidden until the moment of Aldonza’s death. The aim of this study is to offer a new reading of the Duchess’s mausoleum, a pantheon planned to showcase her lineage by focusing exclusively on the female line. Further, this paper rediscovers two panels of the lost main altarpiece of the monastery of Lupiana commissioned by Aldonza de Mendoza and proposes an allegorical portrait of the Duchess represented as the wife of Pontius Pilate. Aldonza’s project reveals itself as crucial for understanding the selffashioning mechanisms employed by late medieval women, as well as the ways in which visual culture was used in the shaping of female memorial programmes.