Visions of the End in Medieval Spain
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THE CONTENTS of a CATALONIAN VILLA the Collection of Anton Casamor Wednesday 11 April 2018
THE CONTENTS OF A CATALONIAN VILLA The Collection of Anton Casamor Wednesday 11 April 2018 THE CONTENTS OF A CATALONIAN VILLA The Collection of Anton Casamor Wednesday 11 April 2018 at 2pm New Bond Street, London VIEWING BIDS ENQUIRIES PHYSICAL CONDITION OF Sunday 8 April +44 (0) 20 7447 7447 Head of Sale LOTS IN THIS AUCTION 11am to 3pm +44 (0) 20 7447 7401 fax Charlie Thomas Monday 9 April To bid via the internet +44 (0) 20 7468 8358 PLEASE NOTE THAT THERE 9am to 4.30pm please visit bonhams.com [email protected] IS NO REFERENCE IN THIS Tuesday 10 April CATALOGUE TO THE PHYSICAL 9am to 4.30pm TELEPHONE BIDDING Administrator CONDITION OF ANY LOT. Wednesday 11 April Telephone bidding on this sale Mackenzie Constantinou INTENDING BIDDERS MUST 9am to 11am will only be accepted on lots +44 (0) 20 7468 5895 SATISFY THEMSELVES AS TO with a lower estimate of £1,000 mackenzie.constantinou@bonhams. THE CONDITION OF ANY LOT SALE NUMBER or above. com AS SPECIFIED IN CLAUSE 14 24740 OF THE NOTICE TO BIDDERS Please note that bids should Representative, Barcelona CONTAINED AT THE END OF CATALOGUE be submitted no later than 4pm Teresa Ybarra THIS CATALOGUE. £20.00 on the day prior to the sale. +34 680 347 606 New bidders must also provide [email protected] As a courtesy to intending proof of identity when submitting bidders, Bonhams will provide bids. Failure to do this may result Press a written Indication of the in your bid not being processed. -
1 the Manchester Beatus
The Beatus Maps: Manchester #207.20 The Manchester (a.k.a. Rylands) Beatus mappa mundi, ca. 1175, John Rylands Library, MS. Lat. 8, fols. 43v-44r, Manchester, England, 45.4 x 32.6 cm The Manchester Beatus. The manuscript of Beatus’ Commentary of the Apocalypse of St. John now in Manchester, England was made around the year 1175 and it is ascribed to the Spanish Burgos region, specifically to the monastery of San Pedro de Cardeña and to the region of Toledo. As a reference, this map falls into Peter Klein’s “Fourth Recension” and Wilhelm Neuss’ Family IIb stemma which consists of the following maps: • Manuscript of Tabara (970). Although its mappa mundi has not survived, as we said in reference to the manuscripts of the Commentary on the Apocalypse which contain the mappa mundi, it must have been very similar to the maps of Las Huelgas and Girona. • Mappa mundi of Girona. (975) #207.6. • Mappa mundi of Turin (first quarter of the 12th century) #207.15. • Mappa mundi of Manchester (ca. 1175) #207.20. • Mappa mundi of Las Huelgas (1220) #207.24. • Mappa mundi of San Andrés de Arroyo (ca. 200 - ca. 1248?) #207.25. 1 The Beatus Maps: Manchester #207.20 Sandra Sáenz-López Pérez has identified the following common features of this Family of Beatus mappae mundi: • The toponyms are virtually identical. Gonzalo Menendez-Pidal recognized the following as being inherent traits of these maps: the inclusion of Cappadocia and Mesopotamia, as well as the addition of the names of Gallia Belgica and Gallia Lugdunensis (instead of just the basic Gallias as shown in the maps of Family IIa). -
IMA VOL4 Prelims.Indd
VIVIAN B. MANN Jewish Theological Seminary OBSERVATIONS ON THE BIBLICAL MINIATURES IN SPANISH HAGGADOT Abstract the seder itself. Illuminated borders and word pan- This essay discusses the last two centuries of medieval Spanish art, els completed the program of illumination. and demonstrates that cooperative relations existed between Christians In all, there remain some seven haggadot from and Jews who worked either independently or together to create art Spain produced from ca. 1300 to ca. 1360 in the both for the Church and the Jewish community. Artists of different Crown of Aragon and Castile in which biblical faiths worked together in ateliers such as that headed by Ferrer Bassa miniatures precede the text of the haggadah. In an (d. 1348), producing both retablos (altarpieces) as well as Latin additional example, the Barcelona Haggadah (British and Hebrew manuscripts. Library, Add. 14761), the biblical scenes serve as The work of such mixed ateliers is of great signicance when text illustrations.3 The number and contents of these considering the genesis ca. 1300 of illuminated with haggadot illustrations are not uniform. The Hispano-Moresque prefatory biblical cycles and genre scenes that were produced in Spain until ca. 1360. These service books for Passover have Haggadah (British Library, Or. 2737), the Rylands always been viewed as a unique phenomenon within the Jewish art (Rylands Library, JRL Heb. 6), and its related of Spain, their origins inexplicable. When the biblical scenes, brother manuscript (British Library, Or. 1404) however, are viewed in the context of contemporaneous Spanish art adhere most closely to the text of the haggadah for the Church, their sources become more transparent. -
Diversities in Cognitive Approach
DIVERSITIES IN COGNITIVE APPROacH MAP maKING AND CARTOGRAPHIC TRadITIONS FROM THE INDIAN OCEAN REGION 4 Time Space Directions Designed by Soumyadip Ghosh © Ambedkar University Delhi All rights reserved AMBEDKAR UNIVERSITY DELHI CENTRE OF COmmuNITY KNOWLEDGE LOTHIAN ROad, KASHMERE GATE, DELHI 110006 TELEPHONE : +91-11-23863740/43 FAX : +91-11-23863742 EmaIL: [email protected], [email protected] Time Space Directions. Delhi, Neeta Press, Shed- 19 DSIDC Industrial Complex, Dakshinpur, ND 62 2014 -1st ed. HISTORY ; DESIGN; MAPS; CARTOGRAPHY; INDIAN OCEAN About The Centre for Community Knowledge The Centre for Community Knowledge (CCK) has been planned as a premier institutional platform in India in interdisciplinary areas of Social Sciences, to link academic research and teaching with dispersed work on Community Knowledge. At a time when communities are faced with multiple challenges, the Centre for Community Knowledge, through its interdisciplinary approach, documents, studies and disseminates the praxis of community knowledge, so as to improve our understandings of our living heritage, and integrate community-based knowledge in the available alternatives. Drawn from living experience, and mostly unwritten, oral and practice based, community knowledge can play a crucial role in these transformative times in a number of areas, including the empowerment of marginal communities, adapting to environmental impacts and changes in public policy. The Centre also aims to foster a multidisciplinary study of marginal knowledge traditions in collaboration -
Jews and Altarpieces in Medieval Spain
jews and altarpieces in medieval spain 76 JEWS AND 77 ALTARPIECES IN MEDIEVAL SPAIN — Vivian B. Mann INTRODUCTION t first glance, the title of this essay may seem to be an oxymoron, but the reali- ties of Jewish life under Christian rule in late medieval Spain were subtle and complicated, even allowing Jews a role in the production of church art. This essay focuses on art as a means of illuminating relationships between Chris- tians and Jews in the fourteenth and fifteenth centuries. Historians continue to discuss whether the convivencia that characterized the earlier Islamic rule on the Iberian Peninsula continued after the Christian Reconquest, the massacres following the Black Death in 1348 and, especially, after the persecutions of 1391 that initiated a traumatic pe- riod lasting until 1416. One view is that the later centuries of Jewish life on the Peninsula were largely a period of decline that culminated in the Expulsion from Spain in 1492 and the Expulsion from Portugal four years later. As David Nirenberg has written, “Violence was a central and systematic aspect of the coexistence of the majority and minorities of medieval Spain.”1 Other, recent literature emphasizes the continuities in Jewish life before and after the period 1391–1416 that witnessed the death of approximately one-third of the Jewish population and the conversion of another third to one half.2 As Mark Meyerson has noted, in Valencia and the Crown of Aragon, the horrific events of 1391 were sudden and unexpected; only in Castile can they be seen as the product of prolonged anti-Jewish activity.3 Still the 1391 pogroms were preceded by attacks on Jews during Holy Week, for example those of 1331 in Girona.4 Nearly twenty years ago Thomas Glick definedconvivencia as “coexistence, but.. -
Studies on the Structure of Gothic Cathedrals
Historical Constructions, P.B. Lourenço, P. Roca (Eds.), Guimarães, 2001 71 Studies on the structure of Gothic Cathedrals Pere Roca Universitat Politècnica de Catalunya, Department of Construction Engineering, Barcelona, Spain ABSTRACT: The study of three Gothic Cathedrals is presented with a discussion on the results obtained with regard to their structural features and present condition. The paper focuses on the significant difficulties that the analysts may encounter in the attempt of evaluating historical structures. These difficulties stem from the importance of historical facts (historical genesis, construction process, and possible natural or anthropic actions affecting the construction throughout its life time) and the need to integrate them in the analysis. The case studies of Tarazona, Barcelona and Mallorca Cathedrals are presented. Particular attention is given to Mallorca Cathedral because of the uniqueness and audacity of its structural design and because of the challenges that the analyst must face to conclude about its actual condition and long-tem stability. 1 CONSIDERATIONS ON THE ANALYSIS OF ANCIENT CONSTRUCTIONS One of the main elements of the European architectural heritage is found in the significant number of Gothic churches and cathedrals built during the last period of the Middle Age. Preserving these constructions requires a certain understanding of their structural features and stability condition; this, in turn, requires a certain knowledge of their material, construction and resisting nature. However, the attempt to understand a complex ancient construction, such as a Gothic cathedral, based on modern techniques and concepts, encounters important difficulties stemming from both practical and theoretical causes. Among the difficulties of practical character is the virtual impossibility of obtaining a detailed knowledge of the properties of the materials, construction details and internal composition. -
News 7 Tesoros Materiales-Angles
7 TREASURES OF THE CULTURAL HERITAGE OF THE STATE OF COLIMA MEXICO July 2013 The International Bureau of Cultural Capitals Ronda Universitat, 7 E-08007 Barcelona ℡ +34-934123294 [email protected] www.ibocc.org WORLD HERITAGE CULTURAL TREASURES The International Bureau of Cultural Capitals has developed a spe- cial project that establishes a list of the most representative local cul- tural “treasures” to be considered as “World Heritage Cultural Treasures." The purpose of this endeavor is to select, promote and communica- te the cultural heritage of a given territory, in order to promote local culture and tourism in an innovating way. This initiative also aims at establishing new touristic routes that engage visitors in learning about the rich cultural heritage of a place with an entertaining educational focus, while promoting local participation. A "territory" is defined as a place where political, geographical, administrative and/or historical coherence coexist. Therefore, for this purpose, cities, regions, provinces, states, nations, etc. are conside- red territories. Campaigns to gather the list of potential “World Heritage Cultural Treasures" developed by the International Bureau of Cultural Capitals have driven strong local participation, as well as national and inter- national media impact. Any “territory” should contact the International Bureau of Cultural Capitals via email in order to partici- pate in the “World Heritage Cultural Treasure" initiative. In order to select the cultural treasures of a territory, a three-fold campaign takes place. First, local citizens have the opportunity to submit a particular “treasure” as contender to the local World Heritage Cultural Treasure list. During the second phase, all potential treasures undergo a selection through a local voting system. -
The Beatus Maps: Turin #207.15
The Beatus Maps: Turin #207.15 The Turin Beatus. The famous Turin Beatus mappa mundi of the 12th century, measuring 39 x 27.5 cm (15.4 x 10.8 in), was produced in Catalonia, Spain, perhaps Ripoll or Girona. It was once supposed to be a medieval design of the first importance, and was thought by the historian Konrad Miller to be a derivative of the Beatus Girona map of ca. 975. In the text of the accompanying Beatus’ The Commentary of the Apocalypse of St. John Commentary illustrated by this map emphasis is laid on the dispersion of the twelve apostles though surprisingly this is not displayed on the Turin mappa mundi itself (like the El Burgo de Osma ca, 1086, #207.14, and the 12th century Milan, a.k.a. Mapa de Oña, #207.26 mappae mundi that display the apostles and their evangelical distribution). It is not now thought to be so ancient or so important as once supposed; but since it has been before the modern world for almost two centuries, far longer than any other Beatus mappa mundi, it has therefore become a classic in medieval cartography. Its remarkable peculiarities have naturally made the Turin map a favorite subject of reproduction. Although the celebrated wind-blowers, so prominent here, are also to be found in other medieval mappae mundi, their execution on this Beatus derivative are far more vigorous and detailed; each wind-spirit being seated on a sack or Aeolus-bag out of which they are squeezing a lively ‘blast of air’. It is fairly certain that in this shape the picture is not a feature of the prototype work of 776 A.D.; the simpler form of the wind-blowers in the 13th century Beatus Navarre/Paris III (#207.13) mappa mundi has a greater claim in this respect. -
Aesthetic Attitudes in Gothic Art: Thoughts on Girona Cathedral Actitudes Estéticas En El Arte Gótico Pensamientos Sobre La
[Recepción del artículo: 16/06/2019] [Aceptación del artículo revisado: 27/07/2019] AESTHETIC ATTITUDES IN GOTHIC ART: THOUGHTS ON GIRONA CATHEDRAL ACTITUDES ESTÉTICAS EN EL ARTE GÓTICO: PENSAMIENTOS SOBRE LA CATEDRAL DE GERONA PAUL BINSKI Cambridge University [email protected] ABSTRACT The aim of this paper is to explore aspects of medieval aesthetic experience and criticism of architecture by means of the documented Catalan and Latin expertise held at Girona Cathedral in 1416-17. Medieval documentation of this type is relatively rare. Having outlined the cases made by the architects summoned to give their opinions on the development of the cathedral, the discussion considers three particular junctures. The first is that of illumination and affect, particularly jucunditas and laetitia; the second is that of nobility and magnificence; and the third is the juncture of the palace and church. I suggest that there is significant common ground between secular and religious buildings in regard to aesthetic experience and verbal articulation. Arguing against comprehensive aesthetic and theological orders of thought and experience, and in favour of the occasional character of medieval experience (that is, the sense in which experience should be understood within a particular set of circumstances, appropriately), I conclude that much of the known language of this sort sits ill with Romantic and post-Romantic concepts of the Sublime. KEYWORDS: Girona cathedral, Gothic, expertise, affects, nobility, magnificence, Sublime RESUMEN El objetivo de este trabajo es explorar aspectos de la experiencia estética medieval y la crítica de la arquitectura a través de las visuras redactadas en catalán y en latín, que tuvieron lugar en la Catedral de Girona en 1416-1417. -
Master Thesis Cami De Sant Jaume
Master Thesis Business writing in academic institution. Cami de Sant Jaume: From Port de la Selva till Montserrat Proposition Model of development of touristic destination. Presented By: Polina Balakina Tutor: Carmen Velez Casellas Universitat de Girona, Spain Faculty of Tourism Prologue. Adventure of travelling is new knowledge, feelings, emotions and acquaintances; frightening, challenging and amazing experience. History of tourism industry as we know it today started with the first one-day package tour created by Thomas Cook in 1841. It has developed tremendously since then and is recognized by UNWTO (2016) to be the third export category after fuels and chemicals worldwide. But, with development of mass tourism, the sense of travel as a challenging and refreshing experience vanished. Great masses of tourists spend vacations in crowded spots and do similar activities. Such concentrations of visitors in certain places and time periods cause damage to local communities, environment and tourist´s perception of vacation. Current tendency in contemporary tourism in Europe, particularly Spain and especially Catalonia is sustainable development of touristic destinations, which means the use of resources for economic development in such a way that they are not damaged, but conserved and restored for future generations. This tendency involves development of sustainable touristic products that diffuse tourism demand and supply equally in terms of geography and seasonality. My Master Thesis is dedicated to a particular type of touristic activity that fits perfectly the criteria described above - route-based trekking. It is gradually becoming popular with travellers. It consists of walking from one place to another on a pre-arranged route for a prolonged period of time. -
VOCABULARY and TERMINOLOGY for CULTURAL VISITS in SPAIN
VOCABULARY and TERMINOLOGY for CULTURAL VISITS in SPAIN You may visit some of the places in this vocabulary guide with API on an organized excursion, or you may venture to one of them on your own or with a small group of friends. No matter the scenario, here are some words that can help you understand what you see during your visit – and also what you may hear from a local guide. ÁVILA Catedral de Ávila – Begun in 1099, this austere cathedral is built into the old ramparts of Ávila and bridges the gap between Romanesque and Gothic styles of architecture. Convento de Santa Teresa – St. Teresa is one of the most famous Catholic saints. She was born in 1515 into a large Jewish family but became a Carmelite nun at age 18. At 40, she experienced a mystic vision and toured Castile, seeking reforms. This 17th century convent and baroque church were built at the site of her birth. Monasterio de Santo Tomas – From this 15th-century Gothic monastery, the Inquisition did its cruel work in Ávila. Torquemada, the first General Inquisitor, was buried here for three centuries before his body was stolen and destroyed in 1836. Prince John, the only son of Ferdinand and Isabella, was also buried here. French soldiers desecrated his tomb, and only an empty crypt remains. murallas – Walls. The 11th-century walls of Ávila were built over Roman fortifications by Alfonso VI during the reconquest of Spain from the Moors. reliquia – Relic. The body or a body part of a saint or apostle, kept and revered as a memorial by a Catholic or Eastern Orthodox church. -
Texts of the Temporary Exhibition
ENGLISH GIRONA IN MODERN TIMES FROM WORKSHOP TO MILITARY STRONGHOLD (fourteenth to the eighteenth century) The Girona of modern times was always one of the capitals of the Principality of Catalonia, despite the fact that during the course of this period it diminished in relative importance, at least in terms of population. From the second half of the 17th century onwards the city also became a strategic stronghold, mainly as a result of periodic wars with France. Thus, the bustling city of the 16th century, specializing in the production of woollen fabrics, had by the second half of the 18th century turned into a military capital. From workshop to military stronghold, below we trace this history. View of Girona, anonymous Manuscript map of the River Ter between Bescanó, Saint Gregori and Girona, 1750 Detail of walled Girona (Cartographic Institute of Catalonia) Although an idealized depiction, the author of this view of Girona, from around 1750, defines the most characteristic features of the city's profile in simple terms: the wall, with its succession of gates and bastions asymmetrically distributed along the walled perimeter, the needle tip of the steeple of Sant Feliu Church and the cylindrical shape of the cathedral's bell tower. The same city as always… The size of modern Girona barely increased over three hundred years, and its urban morphology remained more or less the same as it had always been. The city's axes remai- ned its rivers: the Onyar, which separated the sandy area of Mercadal from the higher Old Town around the cathedral; the Galli- gants, which crossed the old district of Sant Pere in a perpendicular direction; and the Ter, which met the Onyar on the outskirts of the city towards Pedret and Pont Major.