Abstract
A third Iberian artist, the Portuguese architect Emanuel Rodriguez Dos Santos had been living in Rome since at least 1721 when he was first mentioned working there. Almost nothing is known of his early architectural training or even how he arrived in Italy, but he would have an enormous impact on the face of Spanish Rome, and play a major role in promoting Iberian interests in the city. South of Rome, Rodriguez Dos Santos worked on two projects in Anagni, the church of Santa Chiara and the church of Santa Maria di Palazzo. Francisco Preciado de la Vega and Felipe de Castro arrived in Rome in 1732, and by the time the pensions had been awarded fifteen years later, both had achieved recognition at the Accademia di San Luca. Unknown for the most part, Miguel Fernandez played an important role in the development of eighteenth-century Spanish architecture, and moments in his life were marked by great accomplishment.
A third Iberian artist, the Portuguese architect Emanuel Rodriguez Dos Santos had been living in Rome since at least 1721 when he was first mentioned working there. Almost nothing is known of his early architectural training or even how he arrived in Italy, but he would have an enormous impact on the face of Spanish Rome, and play a major role in promoting Iberian interests in the city. South of Rome, Rodriguez Dos Santos worked on two projects in Anagni, the church of Santa Chiara and the church of Santa Maria di Palazzo. Francisco Preciado de la Vega and Felipe de Castro arrived in Rome in 1732, and by the time the pensions had been awarded fifteen years later, both had achieved recognition at the Accademia di San Luca. Unknown for the most part, Miguel Fernandez played an important role in the development of eighteenth-century Spanish architecture, and moments in his life were marked by great accomplishment.