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THE ITALIAN LEGACY IN THE DOMINICAN REPUBLIC
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point. This has been theorized on the grounds that the chapel was initially “dedicated to Saints Cosmas and Da-
mian,”
20
the physician twins.
Geraldini’s tomb is attached to the north wall of the chapel. On that same wall, on both sides of the tomb,
there are two semicircular arch windows and stone tracery, which permits the entrance of light. The monument
is made from coralline limestone, likely originating from the same quarry as the rest of the cathedral’s material.
The monument that holds the mortal remains of Bishop Alessandro Geraldini is a triumphal arch, framed
by a small entablature composed of only a few straight bands that make up the cornice, with an undecorated
frieze and the architrave with two small decorative moldings. On the entablature at each corner, there is a wide-
mouthed jar or amphora (perhaps a chalice)
21
that is mutilated due to having a conch-shaped pendentive placed
on top. In the middle and at the top, there is a placard in the shape of a scroll that reads, “This chapel was built
by canon Diego del Río.”
The entablature rests on two rectangular pilasters with moldings. The pilasters feature a capital decorated with
acanthus leaves in the corners and caulicoles that are under the stem of a flower located in the center. The bases of
the pilasters have a simple foundation, with a pedestal with molding and a plain plinth. The pilasters communicate
classical values, such as the Greco-Roman traditions of honesty and justice, within the interior space.
A flared semicircular arch emerges from the pilasters, achieving the perspective that was used so often during
the Renaissance and calling attention to the center of the tomb. The intrados of the arch is decorated with coffers
in a clear Renaissance style. On the exterior, as if it were delineating the arch, a type of stone cord is carved and
ends in a tassel on each side. Inside the large arch that makes up the tomb, there is a semicircular window with
elaborate stone tracery in the shape of a fan, which serves as the background.
The sarcophagus is an “arcosolium” made from stone, and at the center the episcopal shield is carved out.
The sarcophagus is suspended on a robust pillar with a curved profile that opens onto the upper section serving
as the base. This, in turn, sits atop two lions seated back-to-back.
Since antiquity, the presence of the lion has been associated with funerary monuments, symbolizing protec-
tion and vigilance as well as strength, and it is in this sense that the lion’s image has been represented in emblem-
atic literature. Some Roman tombs feature lions as guardians against evil.
22
They also represent resurrection.
In 1650, canon Gerónimo de Alcocer described the mausoleum as “a sumptuous tomb made from stone
which much like a very handsome urn is atop two stone lions with several moldings and the Bishop’s coat of
arms.”
23
In this funerary monument, the presence of Italian influences can assuredly be seen, as well as the asso-
ciation with the Italian treatises that circulated during the time of its construction and also the reciprocity of the
Spanish perspective of Diego Sagredo in his
Medidas del Romano
.
BIBLIOGRAPHY
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La Catedral de Santo Domingo. Descripción Histórico-
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Santo Domingo: Editora de Santo Domingo, 1933.
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