ABSTRACT

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 self-fashioning mechanisms employed by late medieval women, as well as the ways in which visual culture was used in the shaping of female memorial programmes.

摘要

对 15 世纪最有权势的贵族之一阿尔东萨·德·门多萨公爵夫人（卒于 14​​35 年）起草的最后一句话的详尽分析表明，她将 Lupiana 的 Hieronymite 修道院改造成万神殿的计划可能与在她婚外生了一个孩子，更准确地说，是生了一个直到阿尔东萨死前都一直隐藏的儿子。这项研究的目的是提供对公爵夫人陵墓的新解读，这是一座计划通过专门关注女性血统来展示她的血统的万神殿。此外，本文重新发现了阿尔东萨·德·门多萨 (Aldonza de Mendoza) 委托制作的卢皮亚纳 (Lupiana) 修道院丢失的主祭坛的两块嵌板，并提出了一幅以本丢彼拉多 (Pontius Pilate) 妻子为代表的公爵夫人的寓言画像。