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Descarrega Aquest Fitxer 13 Departament d’Art i de Musicologia LOCVSLOCVS AMŒNVSAMŒNVS Núm 18 , https://revistes.uab.cat/locus ISSN 2014-8798 (digital) Núm. 18, 2020, ISSN 1135-9722 (paper), Servei de Publicacions Departament d’Art i de Musicologia Núm. 18, 2020 ISSN 1135-9722 (paper) ISSN 2014-8798 (digital) https://revistes.uab.cat/locus LOCVSLOCVS AMŒNVSAMŒNVS Universitat Autònoma de Barcelona Servei de Publicacions Bellaterra 2020 DADES CATALOGRÀFIQUES RECOMANADES PEL SERVEI DE BIBILIOTEQUES DE LA UNIVERSITAT AUTÒNOMA DE BARCELONA Locus Amœnus Locus Amœnus / Universitat Autònoma de Barcelona. Departament d’Art i de Musicologia. — Núm. 1 (1996)- . — Bellaterra (Barcelona) : Universitat Autònoma de Barcelona. Servei de Publicacions, 1996- . — Il. ; 30 cm Anual ISSN 1135-9722 I. Universitat Autònoma de Barcelona. Departament d’Art i de Musicologia 1. Art — Història — Revistes 7(091)(05) Consell de redacció Subscripció i administració Daniel Rico, director Universitat Autònoma de Barcelona Rafael Cornudella, secretari de redacció Servei de Publicacions Elsa Espin, secretaria tècnica 08193 Bellaterra (Barcelona). Spain Tel. 93 581 17 15 Comité científic Jean Ch. Balty, Université Paris–Sorbonne; Intercanvi Kristof Makowski, Pontificia Universidad Universitat Autònoma de Barcelona Católica del Perú; Servei de Biblioteques Pilar León, Universidad de Sevilla; Secció d’Intercanvi de Publicacions Didier Martens, Université Libre 08193 Bellaterra (Barcelona). Spain de Bruxelles; José Luis Senra, Universidad Complutense Maquetació de Madrid; Ana I. Entenza Amadeo Serra, Universitat de València; Fernando Marías, Universidad Autónoma Impressió de Madrid; Reprodisseny Peter Cherry, Trinity College Dublin; Carlos Reyero, Universidad Autónoma Edició de Madrid; Universitat Autònoma de Barcelona Francesc Fontbona, Institut d'Estudis Catalans; Servei de Publicacions Delfín Rodríguez, Universidad Complutense 08193 Bellaterra (Barcelona). Spain de Madrid; Tel. 93 581 21 31 Robert Lubar, New York University www.uab.cat/publicacions [email protected] Redacció Universitat Autònoma de Barcelona ISSN 1135-9722 (paper) Departament d’Art i de Musicologia ISSN 2014-8798 (digital) 08193 Bellaterra (Barcelona). Spain Dipòsit legal: B. 5436-1996 Tel. 93 581 13 70 Imprès a Catalunya Fax 93 581 20 01 Printed in Spain Locvs Amœnvs pot consultar-se en línia a: https://revistes.uab.cat/locus Il·lustració de la coberta: adaptació d’un motiu gràfic del llibre d’Alfons Maseras, Èglogues, Barcelona: Oliva de Vilanova, 1918, el qual s’inspirà en el conegut relleu del Tron Ludovisi del Museu de les Termes de Roma. Locvs Amœnvs es publica sota el sistema de llicències Creative Commons segons la mo- dalitat Reconeixement (by). Reconeixement: heu de reconèixer l'autoria de manera apro- piada, proporcionar un enllaç a la llicència i indicar si heu fet algun canvi. Podeu fer-ho de qualsevol manera raonable, però no d'una manera que suggereixi que el llicenciador us dóna suport o patrocina l'ús que en feu. Encara que el català és la llengua oficial de Locvs Amœnvs, en la versió en paper no traslladem a aquesta llengua ni les paraules clau, ni els resums dels articles escrits en altres llengües. Les opinions expressades, a excepció dels editorials, són d’exclusiva responsabilitats dels seus autors. La política de revisió de la revista és per «doble cec», de manera que ni autors ni revisors coneixen la identitat de l’altra part. Locus Amoenus té una periodicitat anual. Les instruccions per als autors es poden consultar en línia a https://revistes.uab.cat/locus/about/ submissions#authorGuidelines. La publicació d’aquest volum ha rebut un ajut econòmic de: LOCVS AMŒNVS 18, 2020 3 Índex LOCVS AMŒNVS Núm. 18, p. 1-222, 2020 ISSN 1135-9722 (paper) ISSN 2014-8798 (digital) https://revistes.uab.cat/locus 5 - 26 Verónica Carla Abenza Soria 115 - 122 Pierre Marty ¿Patronazgo en cuestión o Les débuts du peintre Joseph-Marie cuestión de patronazgo? Bouton (1768-1823), entre Toulouse et Ermessenda de Carcassone Carcassonne (1776-1788) y el desaparecido frontal de altar de la catedral de Girona: 123 - 136 Louise Sangla el enigma de su piedra sigilar La naissance d’une histoire française * de la peinture espagnole : 27 - 48 Cèsar Favà Monllau Louis Viardot (1800-1883) L’estrat gòtic de l’absis de Santa Maria de Terrassa 137 - 151 Emiliano Cano Díaz El enigma del Paisaje de Granada, 49 - 74 Guadaira Macías Prieto de Fortuny, copiado por Manet Nens que escriuen i nens que parlen: una altra visió medieval 153 - 179 Vicent Santamaria de Mingo de Crist Jutge Salvador Dalí entre el surrealismo y la naturaleza. El reciclaje de lo ajeno 75 - 98 Oriol Vaz-Romero Trueba como proceso de creación Juegos infantiles en los ciclos de las Edades de la vida. 181- 201 Juan Carlos Aparicio Vega Una conquista de la pintura europea Manifiesto Tassili: una galería entre los siglos xiv y xvii en el albor de la modernidad 99 - 114 Concepció Bauçà de Mirabò Gralla 203 - 222 Immaculada Socias Batet La reforma siscentista de la Casa La venda de les pintures medievals de de la Universitat de la la Torre del Tesoro de San Pedro Ciutat de Mallorca de Arlanza: un negoci? https://doi.org/10.5565/rev/locus.388 LOCVS AMŒNVS 18, 2020 5 - 26 ¿Patronazgo en cuestión o cuestión de patronazgo? Ermessenda de Carcassone y el desaparecido frontal de altar de la catedral de Girona: el enigma de su piedra sigilar Verónica Carla Abenza Soria Universitat Autònoma de Barcelona [email protected] Recepción: 02/10/2020, Aceptación: 16/11/2020, Publicación: 28/12/2020 Resumen La condesa Ermessenda de Carcassone es célebre por su constante impulso al patro- nazgo de obras de arte y de arquitectura en los diversos condados sobre los que, en dos ocasiones, ejerció su autoridad. El desaparecido frontal de altar románico de la catedral de Santa María de Girona es, sin embargo, la obra que mejor representa su rol como promotora artística. El presente artículo, a través de una revisión exhaustiva de las fuentes conocidas, pretende puntualizar algunos aspectos sobre su encargo, su manufactura y su apariencia, incidiendo particularmente en la importancia de la piedra sigilar que la condesa donó para adornar la pieza y rubricar su iniciativa. El énfasis, además, se pondrá en solventar las dudas sobre el uso de dicha calcedonia como parte de la decoración del frontal, así como su significación para el fenómeno de la promo- ción artística femenina en la Plena Edad Media. Palabras clave: Ermessenda de Carcassone; catedral de Girona; orfebrería medieval; mobiliario litúr- gico; cultura diplomática en la Edad Media; piedra sigilar; restauración Abstract Patronage in question or a question of patronage? Ermessenda of Carcassone and the lost altar frontal of Girona Cathedral: The mystery of its seal Countess Ermessenda of Carcassone is well known for her constant patronage of works of art and architecture throughout the counties over the course of her long co-rule. Her role as artistic patron is best represented by her commission of the now- lost altar frontal of the Cathedral of Girona. Through an exhaustive review of the known sources, both material and documentary, this article calls attention to certain crucial aspects of the frontal such as its commission, appearance and manufacture. By focusing on the seal donated by the countess to decorate and sign the work, longstan- ding questions about the stone’s function within the altar frontal decoration will be addressed in order to shed light on its importance as a key element of female artistic patronage during the central Middle Ages. Keywords: Ermessenda of Carcassone; Cathedral of Girona; medieval metalwork; liturgical fur- nishings; diplomatic culture in the Middle Ages; seal; restoration 6 LOCVS AMŒNVS 18, 2020 Verónica Carla Abenza Soria ingún verso sintetiza mejor la provi- te: la identificación de ese frontal documentado sión a las iglesias de ornamentos para el con una pieza concreta y bastante conocida. Nculto de parte de Ermessenda de Car- La obra, por tanto, no solo hubo de sobre- cassone (ca. 972-1058), condesa consorte de vivir, sino también adornar el mismo altar hasta Barcelona, Girona y Osona (992-1017), que el los hechos funestos de 1808-1809, cuando en el fragmento extractado: «Ermessendis Comitissa contexto de la Guerra de Independencia Espa- religiosa femina, que hanc Sedem ditavit […] ñola (1808-1814) y del consecuente sitio francés tabulam auream ac crucem Deo et Sancte Mariae de la ciudad de Girona, no sin pesar —como se obtulit, et Ecclesiam multis ornamentis ornavit, verá—, hubo de fundirse para hacer frente a la euius obitus sollemniter debet celebrarii»1. Con reclamación monetaria de las tropas ocupantes él, los necrologios de la catedral gerundense rin- y facilitar así su retirada. Comenzar con el re- den tributo a su persona conmemorando lo que lato de su desaparición supondría, sin embar- donó a ese mismo templo. Refieren, específica- go, complicar la comprensión acerca de cómo, mente, una «tabla de oro», es decir, el frontal de cuándo y por qué hubo de nacer una pieza orfebrería que aquí ocupa y para cuyo primer semejante, de cuáles fueron sus características recuerdo documental cabe, sin embargo, volver formales y materiales, y de todo lo relativo a la memoria atrás en el tiempo: su promoción, que, sin ser la única, es una de las cuestiones más importantes de las que aquí […] + Sig+num Ermessendis, comitissae, interesan. Para mejor entender la predilección quae eadem die ad honorem Dei et matris ec- de la condesa hacia Girona y los asuntos de la clesiae trescentas auri contulit uncias ad au- diócesis gerundense, en cambio, conviene hacer ream construendam tabulam +2. primero un breve repaso en torno a las fuentes de su empoderamiento. Es este el colofón del documento más anti- guo que existe del antipendio encargado por la condesa y ejecutado para la decoración del frente Ermessenda de Carcassone, del altar mayor de la catedral románica de Santa Girona y la promoción María de Girona, y para el que ofreció trescientas de su catedral onzas de oro.
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