“Camino De Santiago – the Way of St. James”
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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. -
Culture and Society in Medieval Galicia
Culture and Society in Medieval Galicia A Cultural Crossroads at the Edge of Europe Edited and Translated by James D’Emilio LEIDEN | BOSTON For use by the Author only | © 2015 Koninklijke Brill NV <UN> Contents Preface ix Acknowledgments xxiv List of Figures, Maps, and Tables XXVI Abbreviations xxxii List of Contributors xxxviii Part 1: The Paradox of Galicia A Cultural Crossroads at the Edge of Europe 1 The Paradox of Galicia A Cultural Crossroads at the Edge of Europe 3 James D’Emilio Part 2: The Suevic Kingdom Between Roman Gallaecia and Modern Myth Introduction to Part 2 126 2 The Suevi in Gallaecia An Introduction 131 Michael Kulikowski 3 Gallaecia in Late Antiquity The Suevic Kingdom and the Rise of Local Powers 146 P. C. Díaz and Luis R. Menéndez-Bueyes 4 The Suevic Kingdom Why Gallaecia? 176 Fernando López Sánchez 5 The Church in the Suevic Kingdom (411–585 ad) 210 Purificación Ubric For use by the Author only | © 2015 Koninklijke Brill NV <UN> vi Contents Part 3: Early Medieval Galicia Tradition and Change Introduction to Part 3 246 6 The Aristocracy and the Monarchy in Northwest Iberia between the Eighth and the Eleventh Century 251 Amancio Isla 7 The Charter of Theodenandus Writing, Ecclesiastical Culture, and Monastic Reform in Tenth- Century Galicia 281 James D’ Emilio 8 From Galicia to the Rhône Legal Practice in Northern Spain around the Year 1000 343 Jeffrey A. Bowman Part 4: Galicia in the Iberian Kingdoms From Center to Periphery? Introduction to Part 4 362 9 The Making of Galicia in Feudal Spain (1065–1157) 367 Ermelindo Portela 10 Galicia and the Galicians in the Latin Chronicles of the Twelfth and Thirteenth Centuries 400 Emma Falque 11 The Kingdom of Galicia and the Monarchy of Castile-León in the Twelfth and Thirteenth Centuries 429 Francisco Javier Pérez Rodríguez For use by the Author only | © 2015 Koninklijke Brill NV <UN> Contents vii Part 5: Compostela, Galicia, and Europe Galician Culture in the Age of the Pilgrimage Introduction to Part 5 464 12 St. -
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. -
Wooden Sculpture in Romanesque Iberian Peninsula: a Wide and Attractive Panorama
Medievalista Online 26 | 2019 Número 26 Wooden sculpture in Romanesque Iberian Peninsula: a wide and attractive panorama. Lines of research Escultura de madeira na Península Ibérica românica: um panorama vasto e atrativo. Linhas de investigação Jordi Camps i Sòria Electronic version URL: http://journals.openedition.org/medievalista/2295 DOI: 10.4000/medievalista.2295 ISSN: 1646-740X Publisher Instituto de Estudos Medievais - FCSH-UNL Printed version Date of publication: 1 June 2019 Electronic reference Jordi Camps i Sòria, « Wooden sculpture in Romanesque Iberian Peninsula: a wide and attractive panorama. Lines of research », Medievalista [Online], 26 | 2019, Online since 27 July 2019, connection on 16 October 2019. URL : http://journals.openedition.org/medievalista/2295 ; DOI : 10.4000/ medievalista.2295 © IEM Revista ISSN 1646-740X Número 26 | Julho – Dezembro 2019 Título / Title: Wooden sculpture in Romanesque Iberian Peninsula: a wide and attractive panorama. Lines of research / Escultura de madeira na Península Ibérica românica: um panorama vasto e atrativo. Linhas de investigação Autor(es) / Author(s): Jordi Camps i Sòria Afiliação institucional (Unidade de Investigação, Faculdade ou Departamento, Universidade, Código postal, Cidade, País) / Institutional Affiliation (Research Center, / TECHICAL CHART Faculty or Department, University, Postcode, City, Country): Museu Nacional d’Art de Catalunya, 08038, Barcelona, Spain Email Institucional / Institutional email: [email protected] Fonte: Medievalista [Em linha]. Direc. -
Medieval Churches on the Spanish Frontier : How Elite Emulation in Architecture Contributed to the Transformation of a Territorial Expansion Into Reconquista
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2011 Medieval churches on the Spanish frontier : how elite emulation in architecture contributed to the transformation of a territorial expansion into Reconquista. Kelly L. Watt University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Watt, Kelly L., "Medieval churches on the Spanish frontier : how elite emulation in architecture contributed to the transformation of a territorial expansion into Reconquista." (2011). Electronic Theses and Dissertations. Paper 1538. https://doi.org/10.18297/etd/1538 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. MEDIEVAL CHURCHES ON THE SPANISH FRONTIER: HOW ELITE EMULATION IN ARCHITECTURE CONTRIBUTED TO THE TRANSFORMATION OF A TERRITORIAL EXPANSION INTO RECONQUISTA By Kelly L. Watt B.A., Olivet Nazarene University, 1995 M.A., University of Cincinnati, 2002 A Dissertation Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville In Partial Fulfillment of the requirements For the Degree of Doctor of Philosophy Department of Fine Arts University of Louisville Louisville, Kentucky May 2011 Copyright 2011 by Kelly L. Watt All rights reserved MEDIEVAL CHURCHES ON THE SPANISH FRONTIER: HOW ELITE EMULATION IN ARCHITECTURE CONTRIBUTED TO THE TRANSFORMATION OF A TERRITORIAL EXPANSION INTO RECONQUISTA By Kelly L. -
PILGRIMAGE CHURCH”: the CASE of SAN ISIDORO DE LEÓN Therese Martin University of Arizona
RECASTING THE CONCEPT OF THE “PILGRIMAGE CHURCH”: THE CASE OF SAN ISIDORO DE LEÓN Therese Martin University of Arizona What makes a building a “pilgrimage church”? When Kenneth John Conant codified the “great churches of the pilgrimage roads” in 1959 (fig. 1), the definition applied exclusively to five Romanesque basilicas with continuous aisles leading from the west entrance that navigated through a projecting transept with absidioles and around an ambulatory at the east end with additional radiating chapels, continuing along the opposite aisle and terminating at the point of departure, the west facade.1 1 Regarding these buildings (Saint-Martin de Tours, Saint-Marcial de Limoges, Sainte-Foy de Conques, Saint-Sernin de Toulouse, Santiago de Compostela), José Carlos Valle Pérez noted correctly that, “El prototipo, sin embargo, dada su acusada complejidad y su alto coste, tuvo una difusión muy reducida.... No es la única fórmula diseñada en la época para resolver los escollos con que se tenía que enfrentar un santuario con reliquias, receptor o meta, por tal motivo, de masas de fieles” (129). As John Williams (“La arquitectura del camino de Santiago”) reminds us, the idea of linking the phenomenon of pilgrimage to architecture began in the 1920s with Emile Mâle and Arthur Kingsley Porter. For the historiography of an association of pilgrimage on the Camino de Santiago with architecture, see Williams (“La arquitectura del camino de Santiago”) and Isidro Gonzalo Bango Torviso (“Las llamadas ‘Iglesias de peregrinación’”). The present study does not La corónica 36.2 (Spring 2008): 165-89 166 Therese Martin La corónica 36.2, 2008 Fig. -
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 Way” Arthur Kingsley Porter's First Trip to Northern Spain (1920)
KATHRYN BRUSH Blazing “The Way”. Arthur Kingsley Porter’s First… Blazing “The Way” Arthur Kingsley Porter’s First Trip to Northern Spain (1920) Kathryn Brush University of Western Ontario Abstract: In 1923, the American medievalist Arthur Kingsley Porter (1883-1933) published his ten- volume book on Romanesque Sculpture of the Pilgrimage Roads. This article analyzes and contextualizes Porter’s first trip to northern Spain in 1920. This was his only journey to Santiago de Compostela prior to the publication of his book. It therefore played a fundamental role in the conceptualization of his arguments, which brought many medieval monuments in Spain to international scholarly attention for the first time. Drawing on archival sources, the essay explores Porter’s initial encounters with the art and culture of northern Spain, identifies some of the sites he visited along the Way of St. James, and considers his modus operandi, especially his representation of individual works of Romanesque art and architecture through first-hand study, writing, and photography. Key words: Arthur Kingsley Porter (1883-1933), pilgrimage roads to Santiago de Compostela, historiography, Romanesque sculpture and architecture, Lucy Wallace Porter (1876-1962), photographic documentation. Marcando “el Camino”: el primer viaje de Arthur Kingsley Porter al norte de España (1920) Resumen: En 1923 el medievalista americano Arthur Kingsley Porter (1883-1933) publicó, en diez volúmenes, su libro titulado Romanesque Sculpture of the Pilgrimage Roads. El presente artículo analiza y contextualiza ese primer viaje de Porter al norte de España en 1920, durante el que realizó su única visita a Santiago de Com- postela, antes de la publicación del citado libro. -
Medieval Institute Publications Board of Trustees of Western Michigan University Through Its Medieval Institute Publications Trustees of Princeton University
Medieval Institute Publications Board of Trustees of Western Michigan University through its Medieval Institute Publications Trustees of Princeton University THE CAPITALS OF SAN JUAN DE LA PEÑA: NARRATIVE SEQUENCE AND MONASTIC SPIRITUALITY IN THE ROMANESQUE CLOISTER Author(s): Pamela A. Patton Source: Studies in Iconography, Vol. 20 (1999), pp. 51-100 Published by: Board of Trustees of Western Michigan University through its Medieval Institute Publications Stable URL: http://www.jstor.org/stable/23923557 Accessed: 23-11-2015 18:21 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp 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]. Medieval Institute Publications, Board of Trustees of Western Michigan University through its Medieval Institute Publications and Trustees of Princeton University are collaborating with JSTOR to digitize, preserve and extend access to Studies in Iconography. http://www.jstor.org This content downloaded from 140.180.254.7 on Mon, 23 Nov 2015 18:21:18 UTC All use subject to JSTOR Terms and Conditions THE CAPITALS OF SAN JUAN DE LA PENA: NARRATIVE SEQUENCE AND MONASTIC SPIRITUALITY IN THE ROMANESQUE CLOISTER Pamela A. Patton Rarely, if ever, can the sculpted capitals of a Romanesque cloister be shown conclusively to have been governed by a unified iconographie program.