Territorio, Sociedad Y Poder Revista De Estudios Medievales
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Finding Jesus: the Shroud of Turin Episode There Is No Record of What Jesus Looked Like in the New Testament. There Are No Conte
Finding Jesus: The Shroud of Turin Episode There is no record of what Jesus looked like in the New Testament. There are no contemporary descriptions at all. However, the Bible does record how Joseph of Arimathea, a member of the Jewish council and a sympathizer with Jesus, wrapped his dead body in expensive linen, and buried it in his own family tomb. In the 14th Century a shroud, bearing the image of a crucified man, surfaces in France, before eventually finding a home in Turin. Is this the very shroud that Joseph wrapped Jesus in? Is the image of the man Jesus Christ? The shroud appears to tell the whole story of Jesus’ Passion in one image – the scourging; the Crown of Thorns; carrying the cross; the Crucifixion; the spear in his side. For centuries, the shroud is a source of great controversy – many Christians believe it is genuine, but others have their doubts. In 1978 a team of scientists lead by former US Navy physicist Dr. John Jackson spend five days intensively studying the shroud, before ultimately concluding it is genuine. It isn’t a forgery or the work of an artist. But a decade later, in 1988, the shroud is subject to Radiocarbon 14 dating – scientists at three separate laboratories date the samples of the Shroud to some point between AD1260–1390. This strongly suggests the shroud is a medieval fake after all. In a final twist, the film visits the Cathedral of San Salvador, in Oviedo, Spain, where there is another burial cloth venerated as having covered the face of Jesus. -
Preliminary Investigation of the Iconography of the Woman with the Skull from the Puerta De Las Platerías of Santiago De Compostela
PRELIMINARY INVESTIGATION OF THE ICONOGRAPHY OF THE WOMAN WITH THE SKULL FROM THE PUERTA DE LAS PLATERÍAS OF SANTIAGO DE COMPOSTELA By KAREN FAYE WEBB A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2004 Copyright 2004 by Karen Faye Webb To Dan and Judy Webb ACKNOWLEDGMENTS I am indebted to many individuals for their support and guidance in my physical and conceptual pilgrimage to Santiago de Compostela. I would most like to thank Dr. David Stanley who has been my constant supporter as my toughest critic and my most caring mentor. Dr. Carolyn Watson’s medieval art class at Furman University introduced me to the complex beauty of the south transept portal. My parents indulged my awe of this portal and physically and metaphorically climbed the steps leading to the Puerta de las Platerías with me to pay homage to the Woman with the Skull. Without them, this study would not have been possible. I would like to thank my reader, Dr. John Scott, for his insightful comments, and Jeremy Culler, Sarah Webb and Sandra Goodrich for their support, friendship, and unwavering faith in me. Finally, I would like to thank the Woman with the Skull, who brought me on this pilgrimage and has given me a new awareness about art and myself. iv TABLE OF CONTENTS page ACKNOWLEDGMENTS ................................................................................................. iv LIST OF FIGURES .......................................................................................................... -
Constructing the Cámara Santa: Architecture, History, and Authority in Medieval Oviedo
Constructing the Cámara Santa: Architecture, History, and Authority in Medieval Oviedo by Flora Thomas Ward A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Art University of Toronto © Copyright by Flora Thomas Ward 2014 Constructing the Cámara Santa: Architecture, History, and Authority in Medieval Oviedo Flora Thomas Ward Doctor of Philosophy Department of Art University of Toronto 2014 Abstract My dissertation examines the Cámara Santa of the Cathedral of Oviedo as both a medieval and modern monument, shaped by twelfth-century bishops and twentieth-century restorers. I consider the space as a multi-media ensemble, containing manuscripts, metalwork, and sculpture, arguing that we must view it as a composite—if fragmented—whole. My analysis focuses on the twelfth century, a crucial period during which the structure, decoration, and contents of the Cámara Santa were reworked. A key figure in this story is Bishop Pelayo of Oviedo (d. 1153), who sought to enhance the antiquity and authority of the see of Oviedo by means of the cult of its most important reliquary: the Arca Santa. I argue that this reliquary shapes the form and function of the twelfth-century Cámara Santa, considering the use of the space in the context of liturgy and pilgrimage. Finally, I consider the sculpture that lines the walls of the space, arguing that it animates and embodies the relics contained within the Arca Santa, interacting with the pilgrims and canons who used the space. Thus, this sculpture represents the culmination of the long twelfth-century transformation of the Cámara Santa into a space of pilgrimage focused around the Arca Santa and the memory of the early medieval patrons of the Cathedral of Oviedo, a memory which abides to this day. -
Comparitive Study of the Sudarium of Oviedo and the Shroud of Turin
III CONGRESSO INTERNAZIONALE DI STUDI SULLA SINDONE TURIN, 5TH TO 7TH JUNE 1998 COMPARATIVE STUDY OF THE SUDARIUM OF OVIEDO AND THE SHROUD OF TURIN By; Guillermo Heras Moreno, Civil Engineer, Head of the Investigation Team of the Spanish Centre for Sindonology (EDICES). José-Delfín Villalaín Blanco, DM, PhD. Professor of Forensic Medicine at the University of Valencia, Spain. Vice-President of the Investigation. Spanish Centre for Sindonology (CES). Member of the Investigation Team of the Spanish Centre for Sindonology (EDICES). Jorge-Manuel Rodríguez Almenar, Professor at the University of Valencia, Spain. Vice-President of the Spanish Centre for Sindonology (CES). Vicecoordinator of the Investigation Team of the Spanish Centre for Sindonology (EDICES). Drawings by: Margarita Ordeig Corsini, Catedrático de Dibujo, and Enrique Rubio Cobos. Spanish Centre for Sindonology (CES). Translated from the Spanish by; Mark Guscin, BA M Phil in Medieval Latin. Member of the Investigation Team of the Spanish Centre for Sindonology (EDICES). Revised by; Guillermo Heras Moreno CENTRO ESPAÑOL DE SINDONOLOGÌA. AVDA. REINO DE VALENCIA, 53. 9-16™ • E-46005-VALENCIA. Telèfono-Fax: 96- 33 459 47 • E-Mail: [email protected] ©1998 All Rights Reserved Reprinted by Permission 1 1 - INTRODUCTION. Since Monsignor Giulio Ricci first strongly suggested in 1985 that the cloth venerated in Oviedo (Asturias, Northern Spain), known as the Sudarium of Oviedo, and the Shroud of Turin had really been used on the same corpse, the separate study of each cloth has advanced greatly, according to the terminology with which scientific method can approach this hypothesis in this day and age. The paper called "The Sudarium of Oviedo and the Shroud of Turin, two complementary Relics?" was read at the Cagliari Congress on Dating the Shroud in 1990. -
Proposal for C14 Dating of Charred Material Removed from the Shroud
Proposal for C14 Dating of Charred Material Removed from the Shroud by Robert A. Rucker, MS (nuclear) Rev. 1, October 15, 2018 Reviewed by Mark Antonacci, JD, Author of two books on the Shroud Thurman Cooper, MS (radiochemistry) Jonathan Prather, PhD (biomedical) Kevin N. Schwinkendorf, PhD (nuclear) Abstract In 1988 the Shroud was carbon-14 (C14) dated to 1260 to 1390 AD (Ref. 1), but other evidence (Ref. 2) is consistent with a first century date for the Shroud. To resolve this discrepancy, this proposal recommends that C14 dating be done on samples of the charred material removed from the Shroud in 2002. Nuclear analysis computer calculations based on the neutron absorption hypothesis were used to predict the measured dates for this charred material, as shown in Figure 1. If there is reasonable agreement between the measured dates and the predictions in Figure 1, i.e. about AD 3100 to AD 4800 for samples near the elbows, it would indicate that neutrons were absorbed by the linen, producing additional C14 in the Shroud. This new C14 would explain why the Shroud was C14 dated to 1260 to 1390 AD instead of the first century. Figure 1. C14 Dates Objective Predicted by MCNP To determine whether the 1988 dating of the Shroud to the Middle Ages can be explained by the neutron absorption hypothesis. Hypothesis The neutron absorption hypothesis (Ref. 2 to 4) is: 1. Neutrons were included in the burst of radiation emitted from within the body that formed the image. 2. Some of these neutrons would have been absorbed in the linen to form new C14 atoms on the Shroud. -
Who Is the Man of the Holy Shroud Tri
SCIENTIFIC EVIDENCE ON THE SHROUD OF TURIN DISPLAY INCLUDES Full-size Framed Replica of the Shroud of Turin Photographic Negative of the Shroud of Turin Forensic Model of the Man of the Shroud The Shroud of Turin contains many types of scientific evidence that provide information about its history and environmental Replica Instruments of the Passion: journey. The human blood on the Shroud is Type AB. This rare blood type matches the stains on another known relic, Crucifixion Nails the Sudarium of Oviedo, which many believe to be the cloth that covered the face of Jesus as he was taken down from the Roman Lance cross. In addition to sharing the same blood type, forensic Roman Flagrum experts have identified blood stains that perfectly match on both cloths. This is significant because the Sudarium has been in Oviedo, Spain since the year 611, so any point of contact between the Shroud of Turin and the Sudarium of Oviedo would have occurred before the seventh century. EXHIBIT TOURS Image credit American Confraternity of the Holy Shroud Exhibits tours by appointment. There are numerous To schedule a tour: specific species of plant [email protected] pollens on the Shroud that place it in or near 318-221-5296 the city of Jerusalem, Constantinople, and western Europe, all locations that align with the historical journey scholars believe to be CATHEDRAL OF accurate for the cloth. Image credit American Confraternity of the Holy Shroud PARISH AND SCHOOL sjbcathedral.org A specific soil Cathedral of St. John Berchmans sample from limestone has been identified on the Shroud of Podcast Turin – Travertine WHO IS THE MAN Aragonite – found Who is the Man of the Shroud? in only a few places manoftheshroud.wordpress.com in the Middle East, OF THE SHROUD? including the Old Apple iTunes Store City of Jerusalem. -
New Discoveries on the Sudarium of Oviedo
New Discoveries on the Sudarium of Oviedo César Barta (1) , Rodrigo Álvarez (1)(2) , Almudena Ordóñez (1)(2) , Alfonso Sánchez (1) and Jesús García (1)(2) (1) Research Team of Spanish Center of Sindonology (EDICES), Spain (2) University of Oviedo. Spain Abstract — The Sudarium of Oviedo and the Shroud of Turin are two relics attributed to Jesus Christ that show a series of II. amazing coincidences announced in the past. They lead to Previous coincidences confirm the use of both cloths on the same person. In this between Shroud and Sudarium contribution, we describe the X-ray fluorescence analysis carried out on the Sudarium. Among the chemical elements detected, the A series of definitive coincidences between the Sudarium most reliable was calcium. Being associated to soil dust, it shows of Oviedo and the Shroud of Turin have been discovered in a statistically significant higher presence in the areas with bloody various specialties of the scientific research [5][6][7][8]. Both stains. This fact allows correlating its distribution with the cloths have been used for a bearded man with moustache and anatomical features of the corpse. A large excess of calcium is longhair arranged behind in a ponytail. The Shroud shows a observed close to the tip of the nose. It is atypical to find soil dirt crucified man and the corpse of the Sudarium died in an in this zone of the anatomy, but it is just the same zone where a upright position. Moreover, in both cases, the executed man particular presence of dust was found in the Shroud. -
A Silver Cross-Reliquary and Its Patroness in Twelfth-Century Rural Asturias*
Hispania Sacra, LXXIII 147, enero-junio 2021, 115-124, ISSN: 0018-215X, https://doi.org/10.3989/hs.2021.011 A SILVER CROSS-RELIQUARY AND ITS PATRONESS IN TWELFTH-CENTURY RURAL ASTURIAS* POR Jesús Rodríguez Viejo1 University of Aberdeen Abstract The cross-reliquary of San Salvador de Fuentes is a luxury crucifix in wood and silver created in the late twelfth century for this parish church of the Villaviciosa area, along the central coast of Asturias. The object has been in the Metropolitan Museum of Art in New York since 1917. The main aim of this contribution is to initially analyse the symbolism of the object’s iconographic components to then examine its liturgical roles, paying special attention to the patroness of the cross, the noblewoman Sancha, and the perception of this precious performative reliquary in her local community. Key words: cross-reliquary; Romanesque; female patronage; liturgy; performance. UNA CRUZ-RELICARIO DE PLATA Y SU COMITENTE EN LA ASTURIAS RURAL DEL SIGLO XII Resumen La cruz-relicario de San Salvador de Fuentes es un suntuoso crucifijo hecho principalmente de madera y plata creado a fina- les del siglo XII para esta importante parroquia del concejo de Villaviciosa, en Asturias. El objeto es propiedad del Metropolitan Museum of Art de Nueva York desde 1917. El objetivo del presente trabajo es el de analizar el simbolismo iconográfico y los usos litúrgicos del crucifijo para luego contextualizar el patronazgo de la comitente del objeto, la noble local Sancha, y la creación de este relicario en la vida religiosa de la zona. Palabras clave: cruz-relicario; Románico; patronazgo femenino; liturgia; función. -
The Pennsylvania State University
The Pennsylvania State University The Graduate School College of Arts and Architecture THE CRISTOS YACENTES OF GREGORIO FERNÁNDEZ: POLYCHROME SCULPTURES OF THE SUPINE CHRIST IN SEVENTEENTH-CENTURY SPAIN A Dissertation in Art History by Ilenia Colón Mendoza © 2008 Ilenia Colón Mendoza Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2008 The dissertation of Ilenia Colón Mendoza was reviewed and approved* by the following: Jeanne Chenault Porter Associate Professor Emeritus of Art History Dissertation Co-Advisor Co-Chair of Committee Brian A. Curran Associate Professor of Art History Dissertation Co-Advisor Co-Chair of Committee Elizabeth J. Walters Associate Professor of Art History Simone Osthoff Associate Professor of Art Craig Zabel Associate Professor of Art History Head of the Department of Art History *Signatures are on file in the Graduate School. ii Abstract The Cristo yacente, or supine Christ, is a sculptural type whose origins date back to the Middle Ages. In seventeenth-century Spain these images became immensely popular as devotional aids and vehicles for spiritual contemplation. As a form of sacred drama these sculptures encouraged the faithful to reflect upon the suffering, death, and Resurrection of Christ as well as His promise of salvation. Perhaps the most well-known example of this type is by the Valladolidian sculptor, Gregorio Fernández (1576-1636). Located in the Capuchin Convent of El Pardo near Madrid, this work was created in accordance with Counter-Reformation mandates that required religious images inspire both piety and empathy. As a “semi-narrative”, the Cristo yacente encompasses different moments in the Passion of Christ, including the Lamentation, Anointment, and Entombment. -
New Coincidence Between Shroud of Turin and Sudarium of Oviedo
SHS Web of Conferences 15, 00008 (2015) DOI: 10.1051/shsconf/20151500008 C Owned by the authors, published by EDP Sciences, 2015 New coincidence between Shroud of Turin and Sudarium of Oviedo C. Barta1,a , R. Álvarez2, A. Ordóñez2, A. Sánchez3, and J. García2 1 Research Team of Spanish Center of Sindonology (EDICES), Madrid, Spain 2 EDICES, University of Oviedo, Oviedo, Spain 3 EDICES, Murcia, Spain Abstract. The Sudarium of Oviedo and the Shroud of Turin are two relics attributed to Jesus Christ that show a series of amazing coincidences announced in the past. In this contribution, we describe the X-ray fluorescence analysis carried out on the Sudarium. Among the chemical elements detected, calcium shows a statistically significant higher presence in the areas with bloody stains. This fact allows correlating its distribution with the anatomical features of the corpse. A large excess of calcium is observed close to the tip of the nose. It is atypical to find soil dirt in this zone of the anatomy, but it is just the same zone where a particular presence of dust was found in the Shroud. The very low concentration of strontium traces in the Sudarium matches also well with the type of limestone characteristic of the rock of Calvary in Jerusalem. This new finding adds to others recently released and it strengthens the tradition that both cloths have wrapped the body of Jesus of Nazareth. 1. Introduction According to tradition, the Sudarium of Oviedo is a relic of Christ. In fact, it has been called “Sudario del Señor” (Cloth of the Lord) for centuries. -
Cynthia Hahn, "What Do Reliquaries Do for Relics?
Numen 57 (2010) 284–316 brill.nl/nu What Do Reliquaries Do for Relics? Cynthia Hahn Hunter College CUNY, Art Department, 695 Park Ave, New York, NY 10021, USA [email protected] Abstract This article introduces prominent issues that surround the Christian use of reliquar- ies, first discussing examples from Trier made by the renowned Archbishop Egbert in the tenth century, then turning to early Christian texts to investigate the beginnings of relic practice and belief. Of special interest are the letters and poems of Paulinus of Nola, but also the commentaries of Augustine, Ambrose, Victricius of Rouen and others that flesh out an understanding of how reliquaries were essential to the project of creating an appropriate reverentia for relics (Peter Brown’s term). The materiality of reliquaries, their creation of social relations, particular issues of enclosure and beauty, and questions of potential visibility are given special consideration. Keywords Relic, reliquary, Paulinus of Nola, Egbert of Trier, vision, audience Relics and Reliquaries Dramatically lit and displayed like a precious gem in its glass vitrine in the cool, secure vault of the treasury of the Limburg-an-der-Lahn Cathedral, a curiously phallic-shaped, hyper-attenuated object cap- tures the viewer’s attention but at the same moment confounds it (fig. 1). For the modern viewer, the object allows little or no insight into either its meaning or its controversial and dramatic past. One’s first impression is of an entity, glittering, magnificent, static, and undeniably exotic. Over six feet long and covered with gold foil, what could be described as a floating spear, culminates at its apex in a small orb heavily ornamented with gems, pearls, enamels, filigree, and many, many inscriptions. -
Download: Brill.Com/Brill- Typeface
The Medieval Iberian Treasury in the Context of Cultural Interchange The Medieval Iberian Treasury in the Context of Cultural Interchange Expanded Edition Edited by Therese Martin LEIDEN | BOSTON This is an open access title distributed under the terms of the CC BY- NC- ND 4.0 license, which permits any non- commercial use, distribution, and reproduction in any medium, provided no alterations are made and the original author(s) and source are credited. Further information and the complete license text can be found at https:// creativecommons.org/ licenses/ by- nc- nd/ 4.0/ The terms of the CC license apply only to the original material. The use of material from other sources (indicated by a reference) such as diagrams, illustrations, photos and text samples may require further permission from the respective copyright holder. Originally published, in part, as Volume 25, No. 1– 2 (2019) of Brill’s journal Medieval Encounters. Chapter 9 was originally published as Nancy L. Wicker, “The Scandinavian Container at San Isidoro, León, in the Context of Viking Art and Society,” Journal of Medieval Iberian Studies 11/ 2 (2019): 135– 156; it is here reprinted by permission of the publisher Taylor & Francis Ltd, http:// www.tandfonline.com. The Medieval Iberian Treasury in Context: Collections, Connections, and Representations on the Peninsula and Beyond (National Research Challenge Grant, Spanish Ministry of Science, Innovation, and Universities, AEI/ FEDER, RTI2018- 098615- B- I00, 2019– 2022). Cover illustration: Stole of Queen Leonor (detail), 1197 (Museo de la Real Colegiata de San Isidoro de León, Inv. No. IIC-3-089-002-0024, photo: Therese Martin).