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Gothic-Architecture-In-Spain-List-Of GOTHIC ARCHITECTURE IN SPAIN: INVENTION AND IMITATION Edited by: Tom Nickson Nicola Jennings COURTAULD Acknowledgements BOOKS Publication of this e-book was generously Gothic Architecture in Spain: Invention and Imitation ONLINE supported by Sackler Research Forum of The Edited by Tom Nickson and Nicola Jennings Courtauld Institute of Art and by the Office of With contributions by: Scientific and Cultural Affairs of the Spanish Embassy in London. Further funds came from the Colnaghi Foundation, which also sponsored the Henrik Karge conference from which these papers derive. The Javier Martínez De Aguirre editors are especially grateful to Dr Steven Brindle Encarna Montero and to the second anonymous reader (from Spain) Amadeo Serra Desfilis for their careful reviews of all the essays in this Nicola Jennings collection. We also thank Andrew Cummings, Diana Olivares who carefully copyedited all the texts, as well as Costanza Beltrami Alixe Bovey, Maria Mileeva and Grace Williams, Nicolás Menéndez González who supported this e-book at different stages of its Begoña Alonso Ruiz production. Series Editor: Alixe Bovey Managing Editor: Maria Mileeva Courtauld Books Online is published by the Research Forum of The Courtauld Institute of Art Vernon Square, Penton Rise, King’s Cross, London, WC1X 9EW © 2020, The Courtauld Institute of Art, London. Courtauld Books Online is a series of scholarly books published by The Courtauld Institute of Art. The series includes research publications that emerge from Courtauld Research Forum events and Courtauld projects involving an array of outstanding scholars from art history and conservation across the world. It is an open-access series, freely available to readers to read online and to download without charge. The series has been developed in the context of research priorities of The Courtauld Institute of Art which emphasise the extension of knowledge in the fields of art history and conservation, and the development of new patterns of explanation. For more information contact [email protected] All chapters of this book are available for download courtauld.ac.uk/research/courtauld-books-online Every effort has been made to contact the copyright holders of images reproduced in this publication. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. All rights reserved. CONTENTS List of Illustrations Acknowledgements 1. Gothic Architecture in Spain: Invention and Imitation Tom Nickson, Courtauld Institute of Art 2. The ‘Sumptuous Style’: Richly Decorated Gothic Churches in the Reign of Alfonso the Learned Henrik Karge, Technical University, Dresden 3. The King, the Architects and the Philosopher: Invention in Mallorcan Architecture around 1300 Javier Martínez de Aguirre, Universidad Complutense de Madrid 4. Architectural Practice in Spain 1370–1450: Documents and Drawings Encarna Montero, Universitat de València 5. Patterns of intention: Royal Chapels in the Crown of Aragon (Fourteenth and Fifteenth Centuries) and the Capilla de los Reyes in the Convent of Saint Dominic, Valencia Amadeo Serra Desfilis, Universitat de València 6. Inventio and Imitatio: the Appropriation of Valois Style by a Converso Contador Mayor Nicola Jennings, Colnaghi Foundation 7. New Functions, New Typologies: Inventio in Valladolid’s College of San Gregorio Diana Olivares Martínez, Universidad Complutense de Madrid 8. Imitating a Model, Establishing an Identity: Copying San Juan de los Reyes at San Andrés, Toledo Costanza Beltrami, Courtauld Institute of Art 9. Redesigning Miraflores: Simón de Colonia’s Architectural Perception Nicolas Menéndez González, Ministerium für Heimat, Kommunales, Bau und Gleichstellung des Landes Nordrhein-Westfalen 10. Hallenkirchen and Spanish Gothic Architecture: Historiographic Invention and Architectural Imitation Begoña Alonso Ruiz, Universidad de Cantabria 2.4 2.14 LIST OF ILLUSTRATIONS Burgos Cathedral, cloister seen from north. Abbey church of Santa María de Cañas, La Rioja, portal of the chapter house (northern 2.5 part), from the cloister. Burgos Cathedral, cloister, south wing from Chapter 1 de Compostela (c.1188-1211). Photo: Charles east (1260s). 2.15 Thurlston Thompson, 1866. Cuenca Cathedral, view from the southwest 1.1 2.6 (2007). Tomb of King Peter III of Aragon (1291 – 1.11 Burgos Cathedral, cloister, north wing, statues c.1302) from the northeast, with the double Real Colegiata de Santa María de Roncesvalles, of Fernando III of Castile and his wife Beatrice 2.16 tomb of King James II of Aragon and his wife, Navarre (begun by 1214). of Hohenstaufen, before restoration (1260s). Cuenca Cathedral nave vault and triforia (c. Blanche of France, in the background. Abbey 1250-1300). church of Santes Creus, Catalonia. 1.12 2.7 Toledo Cathedral, presbytery vaults and Burgos Cathedral, cloister, west wing from 2.17 1.2 triforium (c.1254-1274). south east (1260s). Cuenca Cathedral, detail of the nave triforium Double tomb of King James II of Aragon and and clearstory (c. 1250-1300). From Tom his wide, Blanche of France (begun 1310, with 1.13 2.8 Nickson, Toledo Cathedral. Building Histories minor alterations in the 16th century), located Vic Cathedral, cloister (1323-1400). Burgos Cathedral, cloister, capital frieze in the in Medieval Castile (University Park: The south of the crossing, detail of the east face. north wing. Pennsylvania State University Press, 2015), fig. Abbey church of Santes Creus, Catalonia. 60. 1.14 2.9 1.3 Pamplona Cathedral, plan (begun 1394). Burgos Cathedral, cloister, capital frieze in the 2.18 Church of San Esteban, Seville, portal (before south wing. Toledo Cathedral, presbytery, straight bay with 1420, with 17th-century modifications in the 1.15 the tomb of Cardinal Mendoza. Lithograph upper parts). Gerona Cathedral, east end (begun 1312), 2.10 after a drawing of Genaro Pérez Villaamil (c. nave (begun 1347?). Photo from G. E. Street, Saint-Germer-de-Fly, Chapel of the Virgin, 1835-40). From Genaro Pérez Villaamil and 1.4 Some Account of Gothic Architecture in Spain stained glass window showing the abbot, León Auguste Asselineau, España artística y Church of San Juan Bautista (San Juan de la (London: John Murray, 1865). the architect, and the work of stonemasons. monumental (Barcelona: José Ribet, 1865), pl. Palma), Seville, portal (after 1420). From Dieter Kimpel and Robert Suckale, Die 29. Chapter 2 gotische Architektur in Frankreich 1130-1270 1.5 (Munich: Hirmer, 1985), fig. 445, after a 2.19 Las Atarazanas (shipyards), Seville (begun 2.1 drawing of Emile Bœswillwald. Toledo Cathedral, presbytery, straight bay, 1252). León Cathedral, nave elevation. From Georg triforium and clearstory (1250s). From Tom Dehio and Gustav von Bezold, Die kirchliche 2.11 Nickson, Toledo Cathedral. Building Histories 1.6 Baukunst des Abendlandes, atlas, vol. 5 Abbey church of Santa María la Real de Las in Medieval Castile (University Park: The Toledo Cathedral, west façade (largely 14th (Stuttgart: Cotta 1901), pl. 523, 2. Huelgas, nave with nuns’ choir. Lithograph Pennsylvania State University Press, 2015), fig. century, with late 18th-century additions). after a drawing by Genaro Pérez Villaamil (c. 47. 2.2 1842-50). From Genaro Pérez Villaamil and 1.7 Reims Cathedral, on the south side of the León Auguste Asselineau, España artística y 2.20 León Cathedral, presbytery and south transept nave. From Hartmut Krohm and Holger monumental (Barcelona: José Ribet, 1865), pl. Toledo Cathedral, Saint Peter chapel, west (begun 1250s, complete by 1303 or earlier). Kunde (eds.), Der Naumburger Meister 50. wall with the tomb of Fernán Gudiel (d. – Bildhauer und Architekt im Europa der 1278). From Tom Nickson, Toledo Cathedral. 1.8 Kathedralen, vol. 1 (Petersberg: Imhof, 2011), 2.12 Building Histories in Medieval Castile Guillem Sagrera, La Llotja, Palma de Mallorca p. 295, fig. 2. Abbey church of Santa María la Real de Las (University Park: The Pennsylvania State (1426-1447). Huelgas, Burgos, western portal from the University Press, 2015), fig. 63. 2.3 Claustro de San Fernando, c. 1275. 1. 9 Naumburg Cathedral, capitals of the western 2.20 Aljafería, Zaragoza, Gothic portal, (c.1488- rood screen. From Hartmut Krohm and 2.13 Toledo Cathedral, plan. From Rodrigo 1495). Holger Kunde (eds.), Der Naumburger Abbey church of Santa María de Cañas, La Amador de los Ríos, Monumentos Meister – Bildhauer und Architekt im Europa Rioja, presbytery vault (late 13th century). arquitectónicos de España (Madrid: Ministerio 1.10 der Kathedralen, vol. 1 (Petersberg: Imhof, de Fomento, 1905). Maestro Mateo, Pórtico de la Gloria, Santiago 2011), p. 267, fig. 1. 2.21 Chapel (left: north; right: south) (early 14th 3.18 89.3 x 62 cm. Archivo Capitular de Tortosa, León Cathedral, stained glass window in the century). Cathedral of Palma de Mallorca, the Royal Tortosa. westernmost bay of the nave, image of Alfonso Chapel (early 14th century). X the Learned as Holy Roman Emperor. From 3.9 4.8 Carlos Estepa Díez et al., La Catedral de León. Cathedral of Palma de Mallorca, funerary 3.19 Guillem Solivella (?), elevation of a pinnacle Mil años de historia (León: Edilesa, 2002), p. arcosolium in the Trinity Chapel (early 14th Cathedral of Palma de Mallorca, Gothic (c.1400). Ink on paper. Arxiu Capitular de 282. Photo: Imagen M.A.S. century). image-tabernacle of the Virgin Mary (14th Lleida (inv. P0148), Lérida. century). Chapter 3 3.10 4.9 Cathedral of Palma de Mallorca, Guillem 3.20 Maestre Carlí (?), drawing for the main façade 3.1 Forteza’s hypothesis (black: first project built; Bellver Castle, Mallorca, upper gallery (begun of Barcelona Cathedral, detail (c.1408). Ink on Cathedral of Palma de Mallorca, elevation. diagonal lines: first project not built; crossed before 1309). parchment, 311 (6 Catalan spans) x 140 cm. In Joan Domenge, L’obra de la seu. El procés lines: second project). In Guillem Forteza, Arxiu Capitular de Barcelona, Barcelona. de construcción de la catedral de Mallorca ‘Estat de l’arquitectura catalana en temps Chapter 4 en el tres-cents (Mallorca: Institut d’Estudis de Jaume I. Les determinants gòtiques de Chapter 5 Baleàrics, 1997), fig.
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