The Sevilla Guide
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Learning Languages Through Walking Tours with Native Speakers
LEARNING LANGUAGES THROUGH WALKING TOURS WITH NATIVE SPEAKERS www.neweuropetours.eu SANDEMANs NEW Europe is the world’s largest city walking tour provider. With hundreds of thousands of five-star reviews, millions of satisfied guests annually and outstanding service, for a lot of travelers, SANDEMANs tours are an important part of their trip. While many customers choose SANDEMANs to get to know a city with the help of an informed, entertaining and unforgettable expert guide, there is a growing segment of guests who use SANDEMANs to learn a language. With over 600 independent guide partners, native speakers of English and Spanish as well as native speakers of the respective national language are available in all 20 cities in which SANDEMANs is active. With trained English, Spanish and German teachers and a fascinating selection of stories, SANDEMAN tours are an entertaining and interesting way to learn a language. Why SANDEMANs NEW Europe?The SANDEMANs SANDEMANsStory NEW Europe at a glance Qualified language teachers In our multilingual office team Freelance guides from 25 countries Over 600 Freelance guide partners At SANDEMANs NEW Europe, we work with tour guides who specialise in making history, society and culture come alive. These young (and young at heart) guides are experts not only in the cities they call home, but in keeping guests of all ages, nationalities and backgrounds engaged - this is particularly true for school groups. 235,000 Five-star reviews These guides are native English/Spanish and German-speakers from all over the world, giving students the opportunity to hear a range of real-life accents and vocabulary, and to interact with people from different cultures. -
Pedro-De-Mena-Ecce-Homo-Dolorosa
Pedro de Mena th 17 century Tel: +5411 4816 2787/+5411 4816 2790 [email protected] www.jaimeeguiguren.com 1 Pedro de Mena (Granada, Spain, 1628-1688 Málaga) A New Pair of Busts: Ecce Homo and Dolorosa Partially-gilt polychrome wood Ecce Homo 31 x 24 x 15 cm Dolorosa 31 x 24 x 15 cm Provenance: Spain, Miguel Granados Tel: +5411 4816 2787/+5411 4816 2790 [email protected] www.jaimeeguiguren.com 2 Depictions of the subject of Ecce Homo and the Virgin of Sorrows bear witness to the major development of Passion imagery in the Spanish Baroque, second only to the central episode of Christian art, Christ on the cross1. The subject we are dealing with here was, in turn, particularly significant in the Granada school, the context into which we can slot Pedro de Mena’s early artistic period or stage. These types of devotional Passion images were part of the religious worship of the day, and were adapted to the demands and requirements of the Council of Trent, the famous decree dealing with the worship and veneration of holy images2, partly conceived of as a way of highlighting the painful aspects of the Passion in order to elicit an emotive response in believers. Pedro de Mena adapted his art to these exigencies with sublime skill, working the most expressive elements in an exceptional fashion and creating works that invited the viewer to prayer. His sculptures were intended to be venerated in the privacy of chapels, convents and palaces, with the aim of maximizing their emotional charge and encouraging an intimate visual connection and communication between the believer and the image depicted. -
Manifiesto De La Alhambra English
Fernando Chueca Goitia and others The Alhambra Manifesto (1953) Translated by Jacob Moore Word Count: 2,171 Source: Manifiesto de la Alhambra (Madrid, Dirección General de Arquitectura, 1953). Republished as El Manifiesto de la Alhambra: 50 años después: el monumento y la arquitectura contemporánea, ed. Ángel Isac, (Granada: Patronato de la Alhambra y Generalife, Consejería de Cultura, Junta de Andalucía : Tf Editores, 2006) 356-375. We, the signers of this Manifesto, do not want to be pure iconoclasts, for we are already too weary of such abrupt and arbitrary turns. So people will say: “Why the need for a Manifesto, a term which, almost by definition, implies a text that is dogmatic and revolutionary, one that breaks from the past, a public declaration of a new credo?” Simply put, because reality, whose unequivocal signs leave no room for doubt, is showing us that the ultimate traditionalist posture, which architecture adopted after the war of Liberation, can already no longer be sustained and its tenets are beginning to fall apart. […] Today the moment of historical resurrections has passed. There is no use denying it; just as one cannot deny the existence of the Renaissance in its time or that of the nineteenth century archaeological revivals. The arts have tired of hackneyed academic models and of cold, lifeless copies, and seek new avenues of expression that, though lacking the perfection of those that are known, are more radical and authentic. But one must also not forget that the peculiar conditions implicit in all that is Spanish require that, within the global historical movement, we move forward, we would not say with a certain prudence, but yes, adjusting realities in our own way. -
Seville Film
SEVILLE IS CINEMA Seville is a city for recording films. Seville has been and continues to be the setting for many national and international television productions and series. We are very pleased to show you the tourist interest places of that have been the setting for these films, as well as information regarding them. How many times have you seen the Plaza de España in “Lawrence of Arabia” or in “Star Wars: Episode II”, and the Casa de Pilatos in “1492: Conquest of Paradise”? Come and visit these prominent landmarks in situ! The Real Alcázar The Real Alcázar is a monumental complex that date back to the Early Middle Ages, constituting the most important civil building in Seville. The surrounding walls, which can be admired from the Plaza del Triunfo, date from the early 10th century. The Patio del Yeso (Courtyard of the Plaster) belongs to the Almohad period between 1147 and 1237. Its ornamentation inspired later Nasrid architecture, but it was the Christian constructions that gave the complex its current appearance. The Gothic Palace, built during the reign of Alfonso X, has been modified due to the work carried out in the 16th century by the Lisbon earthquake of 1755. The most outstanding features in its rooms are the tiled plinths, the work of Cristóbal Augusta between 1577 and 1583, the set of 18th century tapestries depicting the Conquest of Tunis and the reproduction of the Virgin de La Antigua. The Courtroom, built in the middle of the 14th century during the reign of Alfonso XI, is the first example of the Mudejar style in this area, representing a perfect combination of the Islamic and Christian styles. -
Functionalism and Caprice in Stonecutting. the Case of the Nativity Chapel in Burgos Cathedral
Proceedings of the Third International Congress on Construction History, Cottbus, May 2009 Functionalism and Caprice in Stonecutting. The Case of the Nativity Chapel in Burgos Cathedral Miguel Ángel Alonso Rodríguez, Ana López Mozo, José Carlos Palacios Gonzalo, Enrique Rabasa Díaz Technical University of Madrid, Spain José Calvo-López Polytechnic University of Cartagena, Spain Alberto Sanjurjo Álvarez San Pablo-CEU University, Madrid, Spain ABSTRACT: Starting from the inaugural text of Philibert de L'Orme, stereotomic treatises and manuscripts are subject to the opposing forces of reason and fancy. The Nativity Chapel in Burgos Cathedral provides an outstanding case study on this subject. It was built in 1571-1582 by Martín de Bérriz and Martín de la Haya, using an oval vault resting on trumpet squinches to span a rectangular bay. Bed joints and rib axes are not planar curves, as usual in oval vaults. This warping is not capricious; we shall argue that it is the outcome of a systematic tracing method. As a result of this process, the slope of the bed joints increases slightly in the first courses, but stays fairly constant after the third course; this solution prevents the upper courses from slipping. Thus, in the Nativity Chapel of Burgos Cathedral, the constraints of masonry construction fostered a singular solution verging on capriccio. It is also worthwhile to remark that the warping of the joints is not easily appreciable to the eye and that the tracing process does not seem to start from a previous conception of the resulting form. All this suggests that we should be quite careful when talking about the whimsical character of Late Gothic and Early Renaissance; in some occasions, apparent caprice is the offspring of practical thinking. -
ASSOCIATION of the MIRACULOUS MEDAL 12 Day Pilgrimage to SPAIN and LOURDES October 8-19, 2015
ASSOCIATION OF THE MIRACULOUS MEDAL 12 Day Pilgrimage to SPAIN and LOURDES October 8-19, 2015 Dear Fellow Pilgrim, Please consider this my personal invitation to join me on the Association of the Miraculous Medal’s special fall pilgrimage to Spain and Lourdes. I want to especially point out our visit to the city of Avila during the 500th anniversary of St. Teresa of Avila’s birth. Our Holy Father, Pope Francis, has granted a plenary indulgence to those pilgrims who visit Avila and celebrate the Eucharist there. I was born in Spain, just a few miles away from the birthplace of St. Ignatius of Loyola which we will also visit. I will have the good fortune of sharing with you the beauty of Spain and the many places we will visit in Madrid and Barcelona. Our journey to Lourdes, France, will be the highlight for us as members of the Association of the Miraculous Medal. We will visit the very place where our Blessed Mother appeared to St. Bernadette in 1858, and have the opportunity to celebrate Mass at the grotto. Look over the brochure for more information, carefully check the terms and conditions, and send in your reservation right away. I look forward to welcoming you on this exciting, once-in-a-lifetime trip where you will have the chance to meet new friends, pray, and attend Mass at many chapels and cathedrals. Sincerely yours in our Lady, Rev. Prudencio Rodriguez de Yurre Associate Spiritual Director Association of the Miraculous Medal ITINERARY DAY 1: Thurs., Oct. 8 - Newark/En Route Depart from Newark for your overnight trans-Atlantic flight to Madrid. -
The Royal Monastery of San Lorenzo De El Escorial
The Royal Monastery of San Lorenzo de El Escorial The Royal Monastery of San Lorenzo de El Escorial was built by Philip II in the 16th century and served as a royal palace, monastery and necropolis for numerous Spanish kings. The “El Escorial” is one of the most important visitor sites in Spain. Philip II wished to commemorate the Spanish victory in the battle of St. Quentin, fought on August 10th 1557 on St. Lawrence’s day. As Philip II was devoted to this Saint he decided to build the monastery as a royal pantheon. The king decided to found a religious institution to house the pantheon of his entire dynasty, together with a place of worship, a royal palace, a community of Hieronymite monks, a seminary and a library. The Monastery took twenty-one years to be built (from 1563 to 1584). In the beginning the work was directed by Juan Bautista de Toledo, but following Toledo’s premature death in 1567, his pupil Juan de Herrera began to excel as supervisor of the works. Herrera took over the direction and changed it somewhat into his own personal style. THE ROYAL MAUSOLEUM Philip II wanted to build a crypt below the High Altar, destined for a Royal Pantheon. But he died before his wish was accomplished, and it was his son, Philip III, who fulfilled his father’s desire. Works started in 1617 under the direction of the architect Juan Gómez de Mora. On his death, the work was already well advanced but the project remained unfinished for twenty-two years. -
El Triunfo De Fernando Vii En El Escorial Y Aranjuez
EN VÍSPERAS DE LA GUERRA. EL TRIUNFO DE FERNANDO VII EN EL ESCORIAL Y ARANJUEZ Emilio LA PARRA LÓPEZ Universidad de Alicante É R E Z Galdós dio el título de «El 19 de marzo y el 2 de mayo» al tercero de sus Episodios Nacionales de la prime- ra serie, la dedicada al tiempo de la Guerra de la Indepen- dencia. Una vez más, el gran escritor mostraba su habili- dad para captar el significado de los acontecimientos que se proponía relatar. A finales de los años setenta del siglo X I X, cuando apareció la novela, el 2 de mayo era fecha señalada y mítica para los lectores de Galdós, pero el escritor no quiso limitarse a este hecho y ya en la cubierta de su libro llamó la atención sobre la relevancia del 19 de marzo precedente. Sin dar cuenta de lo ocurrido ese día no era posible ofrecer una interpretación de la actua- ción de los españoles en esa coyuntura, que el novelista consideró esencial en el proceso de construcción de la España contemporánea. Galdós preten- dió, en suma, establecer una relación directa y patente entre el 19 de marzo (fecha del acceso al trono de Fernando VII, en medio de la conmo- ción del motín de Aranjuez) y la actuación de los madrileños el 2 de mayo de 1808. Pérez Galdós estaba en lo cierto. Sin «la revolución de Aranjuez», como la denominaron muchos de los contemporáneos, no se puede ofrecer una expli- cación sólida de la reacción de los españoles contra Napoleón dos meses más tarde, la cual condujo, a su vez, a una auténtica revolución política, desarrolla- da por las Cortes de Cádiz. -
Old Spain (1921)
jiiiilil iliililUiLliliiiL :xr ^^te~! Cr- ARCHITECTURE AND APPLIED ARTS IN OLD SPAIN OLD SPAIN By AUGUST L, MAyER, PH. D PROFESSOR AT THE UNIVERSITY OF MUNICH CORRESPONDING MEMBER OF THE REAL ACADEMIA DE BELLAS ARTES DE S. FERNANDO IN MADRID OF THE REAL ACADEMIA DE BUENAS LETRAS IN SEVILLA AND OF THE HISPANIC SOCIETY OF AMERICA IN NEW YORK WITH 3Jo ILLUSTRATIONS J • » 44602 NEW yORK / BRENTANO'S / MCMXXI c c c J c c c « e •' PRINTED By E. HABERLAND, LEIPZIG (GERMANY) R E F A C E The richntss of Spain in significant architectural monuments, in characterful and characteristic old townsites, as well as conspicuous products of the applied arts, is today still overwhelming in spite of the considerable vandalisms of the Napoleonic ^1 wars and in spite of the modernization craze of the nineteenth century. To make a choice that will illustrate the various types in every branch of the wide fields of applied arts and architecture is exceedingly difficult. On the one hand is the simply immea= surable plethora of materials, on the other the lack of good photographic e.xamples of important ,^ objects scarcely known outside of the narrowest professional circles. '" It is to be noted that the procuring of materials during these present troubled times was difficult. The Association of Friends of Art in Madrid <Sociedad de los Amigos del Arte) as well as the Institut d'Estudis Catalans in Barcelona deserve great thanks for their ener= getic activity in making important materials available, not only by instituting exhibitions, but also by the turning out of numerous photographs and model catalogues. -
Journal of Medieval Art and Architecture
Peregrinations: Journal of Medieval Art and Architecture Volume 4 Issue 3 2014 Peregrinations: Journal of Medieval Art and Architecture (Volume 4, Issue 3) Follow this and additional works at: https://digital.kenyon.edu/perejournal Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons Recommended Citation . "Peregrinations: Journal of Medieval Art and Architecture (Volume 4, Issue 3)." Peregrinations: Journal of Medieval Art and Architecture 4, 3 (2014). https://digital.kenyon.edu/perejournal/vol4/iss3/15 This Full Issue is brought to you for free and open access by the Art History at Digital Kenyon: Research, Scholarship, and Creative Exchange. It has been accepted for inclusion in Peregrinations: Journal of Medieval Art and Architecture by an authorized editor of Digital Kenyon: Research, Scholarship, and Creative Exchange. For more information, please contact [email protected]. et al. Welcome Welcome to the Spring 2014 issue of Peregrinations: Journal of Medieval Art & Architecture. It is with great Current Issue pleasure that we present an issue that goes back to our Photobank roots with a focus on pilgrimage and pilgrimage art. Roger E. Reynolds presents “A Precious Ancient Submission Souvenir Given to the First Pilgrim to Santiago de Guidelines Compostela” which examines Bishop Godescalc’s visit and how it impacted the manuscripts at Albelda in a very Organizations personal way. John K. Moore, Jr. also brings new critical attention to the imposing sculpture of St. James as a Exhibitions pilgrim in “Santiago’s -
The Renaissance Reception of the Alhambra: the Letters of Andrea Navagero and the Palace of Charles V Author(S): Cammy Brothers Source: Muqarnas, Vol
The Renaissance Reception of the Alhambra: The Letters of Andrea Navagero and the Palace of Charles V Author(s): Cammy Brothers Source: Muqarnas, Vol. 11 (1994), pp. 79-102 Published by: Brill Stable URL: http://www.jstor.org/stable/1523211 Accessed: 19-04-2016 01:52 UTC REFERENCES Linked references are available on JSTOR for this article: http://www.jstor.org/stable/1523211?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Brill is collaborating with JSTOR to digitize, preserve and extend access to Muqarnas This content downloaded from 128.143.23.241 on Tue, 19 Apr 2016 01:52:31 UTC All use subject to http://about.jstor.org/terms CAMMY BROTHERS THE RENAISSANCE RECEPTION OF THE ALHAMBRA: THE LETTERS OF ANDREA NAVAGERO AND THE PALACE OF CHARLES V For sixteenth-century European visitors to Granada, the the reflections of a discerning, well-educated humanist. Alhambra presented a splendid, intact monument of a When Ferdinand and Isabella provided for the preserva- culture that was otherwise foreign. When Andrea Navag- -
TRAIN : Al Andalus
------------------------------------------------------------------------------------------------------------------------------------------ TRAIN : Al Andalus JOURNEY : Madrid to Santiago de Compostela Journey Duration : Upto 7 days Introduction Spain’s luxurious, broad-gauge train resumed service in May, 2012, with its 1920s-era cars newly renovated. Enjoy the mesmerizing Spanish landscape on the Al-Andalus as you travel between two of Spain’s cities Santiago de Compostela and Madrid. The train is a combination of impeccable service; elegant decor and delicious cuisine along with sheer luxury which will make you feel like royalty and ensure an unforgettable experience. Day to Day Itinerary Madrid- Segovia - El Escorial- León – Astorga– Ourense Monforte de Lemos– Pontevedra- A Coruña- Santiago de Compostela Check-in 11:00hrs at Madrid Chamartin Station. Day 1: Saturday. Madrid – El Escorial Travellers’ reception at 11am at Madrid Chamartin station. Welcome drink, presentation of the crew and accommodation in suites. We will then start the tour of the Spanish capital, home of art treasures such as the Royal Palace, the Cathedral of Almudena, San Francisco El Grande Basilica. After lunch at a traditional local restaurant, we will continue with the city tour. Return to the train to continue the trip to the town of El Escorial. Dinner and night in El Escorial. Day 2: Sunday. El Escorial – Segovia – Astorga Just as every day, we begin the journey with a delicious buffet and a la carte breakfast. Our coach will then take us to Segovia, listed as a World Heritage City by UNESCO. After visiting this historic and beautiful city, we will return to San Lorenzo de El Escorial for lunch. The day www.luxurytrains.in Page 1 ------------------------------------------------------------------------------------------------------------------------------------------ continues with a visit to the Royal Monastery of San Lorenzo, a masterpiece of Spanish Renaissance.