1 Fecha Del CVA 21/11/2018 Parte A. DATOS PERSONALES Nombre Y
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Bike Tours in Spain
BIKE TOURS IN SPAIN From Bikefriendly Tours we want to offer our clients trips through the area we know firsthand, where we know that their experience will consist of the best routes through the natural environment and some genuine, local recommendations. We will enjoy the most authentic gastronomy, we will get to know the customs of the destinations, and we will visit the best villages. That’s why all our trips are in Spain, an area that we have pedaled extensively and intimately know ROAD&MTB the value of its history and its customs. We are specialists in our country and we only expand our travel offer to the extent that our knowledge, which guarantees we will exceed the expectations of our customers. We know that vacations are finite; once we live them we can’t get them back. This is why our goal is to make Bikefriendly trips one of those experiences that we always turn to when we want to remember something incredible. We take the concept of Bikefriendly trips very seriously and that is why, in order to meet our quality standards, we have nearly 300 accommodations under the Bikefriendly Seal, where riders are received as guests of honor. THE BEST DESTINATIONS All of our guides were interviewed on their bikes, demonstrating their knowledge of the area and the sport. We share our local knowledge with clients to avoid the overcrowding of popular cycling routes and to give you a unique experience. Foto: Andreas Vigl Foto: Brazo de Hierro Foto: Andreas Vigl ROAD&MTB BIKE TOURS IN SPAIN www.bikefriendly.bike BIKEFRIENDLY HOTELS THE BEST ROUTES Foto: Jochen Haar HOTEL ATENEA PORT JOIN OUR BIG FAMILY AND GET OFFERS AND DISCOUNTS IN BIKEFRIENDLY HOTELS AND TRIPS! Go to www.bikefriendly.bike/club and join the largest cycling community in Spain. -
"Don Félix Máximo López", Boletín De La Real Academia De Bellas Artes De San Fernando , V, 47 (1885), P
1885 l. Francisco Asenjo BARBIERI. "Don Félix Máximo López", Boletín de la Real Academia de Bellas Artes de San Fernando , v, 47 (1885), p. 195-208. 1887 2. Juan Facundo RIAÑO. Critical and Bibliographical Notes on Early Spanish Music .- London: Bernard Quaritch, 1887. [Incluye reproducciones de las Cantigas de Santa María y del tríptico del Monasterio de Piedra, de 1390, Real Academia de la Historia de Madrid]. 1901 3. Ángel María de BARCIA. Catálogo de los retratos de personajes españoles que se conservan en la Sección de Estampas y de Bellas Artes de la Biblioteca Nacional .- Madrid: Viuda e hijos de M. Tello, 1901. 4. Felipe PEDRELL. Emporio científico e histórico de organografía musical antigua española .- Barcelona: Juan Gili, 1901. 5. Enrique SERRANO FATIGATI. Instrumentos Músicos en las Miniaturas de los Códices Españoles, siglos X al XIII .- Madrid: Real Academia de Bellas Artes de San Fernando, 1901. [Discurso de ingreso en la Real Academia]. 6. José VILLAAMIL Y CASTRO. "Algunas notas acerca de las representaciones de los gaiteros en los monumentos de Galicia", Galicia Histórica , i (1901), p. 33-35. 1903 7. Eduardo ÁLVAREZ CARBALLIDO. "Escultura en Galicia. Los Gaiteros", Galicia Histórica , ii, 12 (noviembre-diciembre 1903), p. 804-807. 8. Edward BÜHLE. Die musikalischen Instrumente in den Miniaturen des frühen Mittelalters. I. Die Blasinstrumente .- Leipzig: Breitkof & Härtel, 1903. Ed. facsímil New York: Georg Olms, 1975. [Estudia miniaturas con instrumentos de viento a través de diversas fuentes, entre ellas las Cantigas de Santa María -Ms. bI2 de El Escorial- y un Beato -Biblioteca Nacional, B 31-, citados a través del libro de Riaño, 1887]. -
Aragón Is Culture
ENGLISH ARAGON / IS CULTURE ARAGON IS AN ANCIENT LAND THAT HAS BEEN WITNESS TO THE PASSAGE OF CIVILISATIONS AND CULTURES, CLEARLY RECOGNISABLE IN ITS RICH CULTURAL HERITAGE. Architectural /2 ARAGON IS AN ANCIENT LAND THAT HAS BEEN WITNESS TO THE PASSAGE OF CIVILISATIONS AND CULTURES, CLEARLY RECOGNISABLE IN ITS RICH CULTURAL HERITAGE. Architectural/ ARAGON IS CULTURE From prehistoric times, various civilisations have left their mark on this territory: the Iberians; the Romans, founders of cities; the Muslims, who inhabited the peninsula for seven centuries; the Europeans Heritage arriving along the Way of St James; and the Jews and Christians living side-by-side in many villages. Aragon is culture. And the result of all this, besides a spectacular architectural heritage encompassing all periods and styles, is a cultural background that has shaped an open character, proud of its cultural riches. < Alabaster altarpiece, Cathedral of Huesca. Detail of typical Mudejar decoration. Sádaba Castle (Zaragoza). International Railway Station, Canfranc (Huesca). Romanesque capital of the Church of Santiago, Agüero (Huesca). /3 Aínsa. Medieval town. /4 01/ 02/ ARAGON IN THE PYRENEES IS CULTURE Discovering ancient Thanks to its spectacular artistic monuments architectural heritage amidst unspoilt mountain encompassing all periods and landscapes is an styles, Aragon has developed incomparable experience. an open character, proud of its cultural riches. 03/ THE PYRENEAN 1 FOOTHILLS Enjoying a milder climate than the mountains, the uplands and valleys of the Pyrenean foothills are a living museum offering a huge variety of art. 04/ 05/ TERUEL AND ITS ZARAGOZA AND SURROUNDINGS THE EBRO VALLEY This is the land of the Mudejar, The Ebro River has been of legends of love, of dinosaurs, a channel for successive jamón and many more cultures, enriching the cultural surprises. -
Sancha, Urraca and Elvira: the Virtues and Vices of Spanish Royal Women 'Dedicated to God' Rose Walker Courtauld Institute of Art
Sancha, Urraca and Elvira: the virtues and vices of Spanish royal women 'dedicated to God' Rose Walker courtauld Institute of Art Major changes occurred in Spain during the eleventh century on most fronts, and not least in the Church, where the liturgical change, from the Mozarabic to the Roman liturgy, was pan of far-reaching structural and political upheaval. All the identified major players, who form the subject of studies of the period, were men: from Pope Gregory VII and King Alfonso VI of Le6n and Castile, whose reign encompassed the most intense period of change, to the papal legates, the monks from Cluny, and the narned illuminators and scribes. It is difficult to uncover any contributions to this process made by women. Some royal women are occasionally mentioned in cbaners and chronicles, but not usually in this context. Yet there is a reference in the Historia Silense, which does not fit this pattern. This chronicle, probably completed in the early twelfth century, speaks of Alfonso VI's father, King Fernando, giving the monasteries of his kingdom (that is broadly speaking Le6n and Castile) on his death in 1065 to his daughters Urraca and Elvira. It says: 'He entrusted to his daughters all the monasteries of his whole kingdom in which they might live until the end of this life without being tied to a husband." It is important to use the His/oria Silense critically, as parts of it may well have been commissioned by Fernando's daughter Urraca. She cannot have been responsible for the finished product as it includes events which -
©© Copyright Notice ©
© COPYRIGHT NOTICE © This digital offprint is provided for the convenience of the author of the attached article. ThoughThough tthishis wworkork hashas beenbeen writtenwritten bbyy tthehe rrecipientecipient ooff tthishis eelectroniclectronic ffile,ile, thethe CopyrightCopyright isis heldheld byby ACMRSACMRS (The(The ArizonaArizona CenterCenter forfor MedievalMedieval andand RenaissanceRenaissance SStudies),tudies), aass rrepresentedepresented bbyy TThehe AArizonarizona BBoardoard ooff RRegentsegents fforor Arizona State University. ThisThis filefile maymay notnot bebe reproducedreproduced oror outputoutput forfor anyany commercialcommercial ppurposeurpose without first obtaining permission from ACMRS. ProhibitedProhibited commercialcommercial useuse includes,includes, butbut isis notnot limitedlimited to:to: • UseUse inin anyany otherother publicationpublication (in(in partpart oror inin whole)whole) • Online publication or distribution • Student/classroom course packs If you have any questions regarding copyright or permissions, please contact ACMRS: Permissions Department ACMRS Arizona State University PO Box 4402 Tempe, AZ 85287-4402 ©Tel. 480-965-5900 Fax 480-965-1681 [email protected] Spanish Medieval Art: Recent Studies, edited by Colum Hourihane (Tempe� ACMRS, 2007) ISBN 978-0-86698-394-5 Inscriptions and the Romanesque Church: Patrons, Prelates, And Craftsmen In Romanesque Galicia 1 James D’Emilio Introduction: Santiago And Galicia The cathedral of Santiago de Compostela preserves a range of inscriptions related to the history and liturgy of the Romanesque church, the protagonists of its construction, and the didactic or symbolic aspects of its decoration. 2 An ample text in the eastern chapel relates to the com- mencement of the building, a date is boldly cut into the jambs of the south transept portal, and twelve roundels in the nave celebrate the consecration of 1211 with liturgical verses encircling crosses. -
11 Accessing Theumi World's Information Since 1938 300 North Zeeb Road
INFORMATION TO USERS The most advanced technology has been used to photo graph and reproduce this manuscript from the microfilm master. UMI films the original text directly fi*cm the copy submitted. Thus, some dissertation copies are in typewriter &ce, while others may be from a computer printer. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyrighted material had to be removed, a note will indicate the deletion. Oversize m aterials (e.g., maps, drawings, charts) are re produced by sectioning the original, beginning at the upper left-hand com er and continuing firom left to right in equal sections with small overlaps. Each oversize page is available as one exposure on a standard 35 mm slide or as a 17" x 23" black and white photographic print for an additional charge. Photographs included in the original manuscript have been reproduced xerographically in this copy. 35 mm slides or 6"X 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. 11 Accessing theUMI World's Information since 1938 300 North Zeeb Road. Ann Arbor, M! 48106-1346 USA Order Number 8812291 The sculptural program of the royal collegiate church of San Isidoro in Ledn. (Volumes I and II) Orr, Beverty Anne, Ph.D. The Ohio State Unimsity, 1988 Copyright ©1988 by Orr, Beverly Azme. All rights reserved. UMI SOON. Zeeb Rd. Ann Aibor, MI 48106 PLEASE NOTE: in all cases this material has been filmed in the best possible way from the available copy. -
Slide Collection Catalogue
Catalogue of the Albert Hoxie Slide Collection Compiled by Kent Fielding Schull Summer 2001 Collection Owned by the Department of History, UCLA Introduction This catalogue is a guide to the contents of Albert Hoxie’s entire slide collection of over 160,000 slides of art and architecture from all periods and from around the world. It is ordered according to his method of organization. There are three major sections. Section I is organized according to Area, Painter, and Time Period, for example: if you wish to see if the collection contains the works of Titian, look under Italian Painters 16th Century. Section II consists of artists and artistic works other than paintings and is organized according to Place, Subject Type, and Time Period,1 therefore if you want the sculptural works of Michelangelo then look up under Italian Artists 16th Century. Section III consists of numerous slides taken of sites and architecture around the world. This section is organized according to country, town/city, and specific place.2 For example if you want to see if the collection holds slides of Christ’s Church College in Oxford, England; you would look under Central England, Oxford, Christ’s Church, etc.3 It is also possible to search the collection by using the binoculars icon in the Adobe Acrobat Reader (assuming you have the PDF form of this document). We strongly encourage faculty participation in the identification of slides. If you find an artist, area, or time period that is of interest and would like to use the slides or hasten the process of digitization, please contact Kent Schull: [email protected]. -
Jaca Monuments the History and Highlights of Jaca the History of Jaca
Jaca Monuments The history and highlights of Jaca The History of Jaca Over the centuries, Celtic, Roman, Carolingian, Arabic, Jewish and make Jaca its capital, converting it from a small farming settlement into Christian influences have gradually shaped the unique personality of this a large regal city. mountain area, explaining its role in the history of Aragon. But it was his son, Sancho Ramírez, who gave the final impetus to the The history of Jaca really began in the 3rd century BC, when the Iberian development of Jaca by granting it a Charter in 1077. This was a set of Iaccetani people settled here and minted coins named Iacca. This was a laws to promote peaceful coexistence which converted the town into the cattle-raising community that lived for warfare and inhabited these lands Capital of the Kingdom of Aragon with the title of ‘City’. And the bishopric until 195 BC when the invading Romans under Marcus Pontius Caton of Aragon was transferred there. Many new residents were attracted by the expelled them. During the Roman and Visigothic periods, Jaca must possibilities of taking up the royal privileges and developing trade. have been an important town considering its strategic location between the Iberian Peninsula and France on the route across the Pyrenees. After The Aragonese monarchs also granted Jaca other privileges such as subsequent invasions by Suevians, Suessetanians and Visigoths, some the possibility of holding a weekly market and organising fairs. Jaca’s Muslim military outposts were set up to collect taxes for Islam. splendour was reaffirmed by its location on the Pilgrims’ Road to Santiago. -
The Woman in Labour: a Twelfth-Century Navarrese Relief from the Church of San Martin De Tours, Artáiz
Trivent Publishing © Trivent (2019) Available online at http://trivent-publishing.eu/ The Woman in Labour: A Twelfth-Century Navarrese Relief from the Church of San Martin de Tours, Artáiz Dilshat Harman Independent scholar, Russia, [email protected] Abstract Among other corbels on the façade of the Church of San Martin de Tours in Artáiz (Navarra - Spain, twelfth century), an interesting relief depicts a woman while giving birth. Childbirth in medieval art is a fascinating subject, as it can portray the differences between medieval and contemporary attitudes regarding sex and gender. How is childbirth depicted? Why is it depicted at all? This essay will analyze the meaning and scope of the childbirth relief within the context of early Medieval culture and recent research in Romanesque marginal art. Keywords: San Martin de Artáiz; Spain; Romanesque; portal; twelfth century; gender; childbirth. This is an Open Access article distributed in accordance with the Creative Commons Attribution Non Commercial (CC-BY-NC-ND 4.0) license, which permits others to copy or share the article, provided original work is properly cited and that this is not done for commercial purposes. Users may not remix, transform, or build upon the material and may not distribute the modified material (http://creativecommons.org/licenses/by-nc/4.0/) The Woman in Labour: A Twelfth-Century Navarrese Relief from the Church of San Martin de Tours, Artáiz Dilshat Harman Independent scholar, Russia Artáiz (Spain) - history and description Artáiz is a small village (with less than 50 inhabitants today) located about 10 kilometres from Camino Aragonés. Almost nothing is known about the early history of the Church of San Martin de Tours in Artáiz, Navarra (Fig.1).1 There is no document to attest its construction or later architectural developments. -
The Superstes Resurrection, the Survival of Antiquity, and the Poetics of the Body in Romanesque Sculpture
Francisco Prado-Vilar The superstes Resurrection, the Survival of Antiquity, and the Poetics of the Body in Romanesque Sculpture “Behold, I tell you a mystery. We shall all indeed rise again: but we shall not all be changed. In a moment, in the twinkling of an eye, at the last trumpet: for the trumpet shall sound, and the dead shall rise again incorruptible: and we shall be changed. For this corruptible must put on incorruption; and this mortal must put on immortality. And when this mortal hath put on immortality, then shall come to pass the saying that is written: Death is swallowed up in victory.” 1 Corinthians 15:51–54 In May 1105, Count Sancho Ramírez, the first-born son of King Ramiro I of Aragon, signed with his own hand the precious parchment that contains his testament. In that moment of reckoning, faced with the realization that human nature is brief and frag- ile (humana natura brevis et fragilis est), he may have reflected on the memories of a long and eventful life – one that had been marked in the beginning by travel and adventure, and defined, in the end, by piety and the call of duty.1 The child of an illegitimate union, he abandoned the kingdom in his youth to go to the “land of the moors” causing his father to stipulate in his first will (1059) that he would be disinherited if he failed to return to Aragon and “regain his love” and that of his younger brother of the same name, who would later reign as King Sancho Ramírez (r. -
National Cathedrals Plan
NATIONAL CATHEDRALS PLAN NATIONAL CATHEDRALS PLAN - REVISION Page 1 of 47 CONTENTS INTRODUCTION 3 OBJECTIVES AND METHOD OF THE PLAN REVIEW 4 1. BACKGROUND AND PRIOR STUDIES 6 1.1. Basic aspects 6 1.1.1. Timeline of the origin and development of the Plan 6 1.1.2. Gestation, Implementation and initial Objectives of the Plan 7 1.1.3. The Cathedrals Steering Plans 9 1.1.4. The Investment Programmes 12 1.1.5. Development of the Plan from 2004 up to 2009 18 1.1.6. Critical analysis of the Cathedrals Plan. 20 years in force 22 1.2. List of cathedrals 23 1.3. Risk Chart 26 2. METHODOLOGICAL ASPECTS 28 2.1. Intervention criteria 28 2.2. Operational method 30 2.3. Coordination of initiatives 32 2.4. Co-funding and co-responsibility 33 3. SCHEDULE OF ACTIONS 34 3.1. Scheduling criteria 34 3.2. Actions for protection and preventive conservation, conservation and restoration, documentation and research, training and accessibility of dissemination. 35 4. EXECUTION AND MONITORING 38 4.1. Economic/financial study 38 4.1.1. Economic impact of the Plan Proposals 38 4.1.2. Criteria 40 4.2. Plan fulfilment indicators 41 4.3. Oversight and Monitoring 41 4.4. Validity and Reviews of the Plan 42 ANNEX I - PROPOSED CONTENT TEMPLATE OF A CATHEDRAL STEERING PLAN43 NATIONAL CATHEDRALS PLAN - REVISION Page 2 of 47 INTRODUCTION The National Cultural Heritage Plans have been devised as instruments for the administration of Heritage serving to define an operational methodology and programme for initiatives with the aim of coordinating the involvement of the various public authority bodies associated with complex cultural assets. -
ARAGÓN ART Romanesque
english romanesque art in ARAGÓN Front: Rueda Monastery San Pedro el Viejo, Huesca San Juan de la Peña Rueda Monastery Uncastillo ARAGÓN GENERAL INFORMAtIoN Q RAGON is one of the seventeen Autonomous Regions of It will take your breath away, but Aragon is a land that breathes a Spain. It is located in the northeast of the Iberian history. If you follow the thousand-year-old marks, you will realize Peninsula, equidistant of nearly everything and always that, in this community of contrasts, Christians, Jewish and Muslims close (only some seventy-five minutes from Madrid and Barcelona, have lived together. Get ready because your adventure starts. thanks to the high-speed train). With 47,724 square kilometers, this old kingdom, which once was one of the oldest nations of Europe, has more than 1,200,000 inhabitants nowadays. On the whole, tenacious people, as kind as warm, with a sarcastic humor and noble intentions. BELFAST DUBLIN LIVERPOOL HAMBURGO AMSTERDAM LONDON BERLIN BRUSELAS ocationLUXEMBURGO PARIS STRASBOURG l MUNICH BERN BORDEAUX MILAN PAU TOULOUSE PAMPLONA MARSEILLE BARCELONA ROMA MADRID LISBOA FRANCIA PIRINEOS SIRESA GAVÍN BENASQUE SASABE OLIVÁN SAN JUAN DE BUSA OBARRA JACA SABIÑÁNIGO AÍNSA SOS DEL REY LASIESO CATÓLICO SAN JUAN RODA DE UNCASTILLO DE LA PEÑA ISÁBENA LOARRE SAN URBEZ LA PUEBLA ALAÓN Navarra Huesca DE CASTRO TOLVA EJEA DE LOS CAPELLA CABALLEROS SAN PEDRO BARBASTRO EL VIEJO MONZÓN TAUSTE TARAZONA SIGENA VERUELA Zaragoza FRAGA LA SEO Lérida LA ALMUNIA RUEDA CARIÑENA CALATAYUD MONASTERIO CASPE DE PIEDRA ALCAÑIZ DAROCA Tarragona CALANDA CALAMOCHA MONTALBÁN ESCUCHA Guadalajara Castellón ALBARRACÍN Teruel Cuenca Valencia Veruela Monastery, cloister Romanesque Art in Aragón 1 Veruela Monastery, entrance IVE this land with intensity, fell, feel in the last l nerve ending everything that surrounds you Aragon is a provocation to the senses.