DOCSLIB.ORG

Gothic Architecture in Spain: Invention and Imitation

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Gothic Architecture in Spain: Invention and Imitation 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 Scientific and Cultural Affairs of the Spanish With contributions by: Embassy in London. Further funds came from the Colnaghi Foundation, which also sponsored the Tom Nickson conference from which these papers derive. The Henrik Karge editors are especially grateful to Dr Steven Brindle Javier Martínez de Aguirre and to the second anonymous reader (from Spain) Encarna Montero for their careful reviews of all the essays in this Amadeo Serra Desfilis collection. We also thank Andrew Cummings, Nicola Jennings who carefully copyedited all the texts, as well as Diana Olivares Alixe Bovey, Maria Mileeva and Grace Williams, Costanza Beltrami who supported this e-book at different stages of its Nicolás Menéndez González production. Begoña Alonso Ruiz ISBN 978-1-907485-12-1 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. Cover image Simon de Colonia, church of Santa Maria de Miraflores, vault of the capilla mayor (1480s). 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 2.3 Claustro de San Fernando, c. 1275. LIST OF ILLUSTRATIONS Naumburg Cathedral, capitals of the western rood screen. From Hartmut Krohm and 2.13 Holger Kunde (eds.), Der Naumburger Abbey church of Santa María de Cañas, La Meister – Bildhauer und Architekt im Europa Rioja, presbytery vault (late 13th century). Cover image 1. 9 der Kathedralen, vol. 1 (Petersberg: Imhof, Aljafería, Zaragoza, Gothic portal, (c.1488- 2011), p. 267, fig. 1. 2.14 Simon de Colonia, church of Santa Maria de 1495). 2.4 Abbey church of Santa María de Cañas, La Miraflores, vault of the capilla mayor (1480s). Burgos Cathedral, cloister seen from north. Rioja, portal of the chapter house (northern 1.10 part), from the cloister. Maestro Mateo, Pórtico de la Gloria, Santiago 2.5 Chapter 1 de Compostela (c.1188-1211). Photo: Charles Burgos Cathedral, cloister, south wing from 2.15 Thurlston Thompson, 1866. east (1260s). Cuenca Cathedral, view from the southwest 1.1 (2007). Tomb of King Peter III of Aragon (1291 – 1.11 2.6 c.1302) from the northeast, with the double Real Colegiata de Santa María de Roncesvalles, Burgos Cathedral, cloister, north wing, statues 2.16 tomb of King James II of Aragon and his wife, Navarre (begun by 1214). of Fernando III of Castile and his wife Beatrice Cuenca Cathedral nave vault and triforia (c. Blanche of France, in the background. Abbey of Hohenstaufen, before restoration (1260s). 1250-1300). church of Santes Creus, Catalonia. 1.12 Toledo Cathedral, presbytery vaults and 2.7 2.17 1.2 triforium (c.1254-1274). Burgos Cathedral, cloister, west wing from Cuenca Cathedral, detail of the nave triforium Double tomb of King James II of Aragon and south east (1260s). and clearstory (c. 1250-1300). his wide, Blanche of France (begun 1310, with 1.13 minor alterations in the 16th century), located Vic Cathedral, cloister (1323-1400). 2.8 2.18 south of the crossing, detail of the east face. Burgos Cathedral, cloister, capital frieze in the Toledo Cathedral, presbytery, straight bay with Abbey church of Santes Creus, Catalonia. north wing. the tomb of Cardinal Mendoza. Lithograph 1.14 after a drawing of Genaro Pérez Villaamil (c. 1.3 Pamplona Cathedral, plan (begun 1394). 2.9 1835-40). From Genaro Pérez Villaamil and Church of San Esteban, Seville, portal (before Burgos Cathedral, cloister, capital frieze in the León Auguste Asselineau, España artística y 1420, with 17th-century modifications in the 1.15 south wing. monumental (Barcelona: José Ribet, 1865), pl. upper parts). Gerona Cathedral, east end (begun 1312), 29. nave (begun 1347?). Photo from G. E. Street, 2.10 1.4 Some Account of Gothic Architecture in Spain Saint-Germer-de-Fly, Chapel of the Virgin, 2.19 Church of San Juan Bautista (San Juan de la (London: John Murray, 1865). stained glass window showing the abbot, Toledo Cathedral, presbytery, straight bay, Palma), Seville, portal (after 1420). the architect, and the work of stonemasons. triforium and clearstory (1250s). From Dieter Kimpel and Robert Suckale, Die 1.5 Chapter 2 gotische Architektur in Frankreich 1130-1270 2.20 Las Atarazanas (shipyards), Seville (begun (Munich: Hirmer, 1985), fig. 445, after a Toledo Cathedral, Saint Peter chapel, west wall 1252). 2.1 drawing of Emile Bœswillwald. with the tomb of Fernán Gudiel (d. 1278). León Cathedral, nave elevation. From Georg 1.6 Dehio and Gustav von Bezold, Die kirchliche 2.11 2.20 Toledo Cathedral, west façade (largely 14th Baukunst des Abendlandes, atlas, vol. 5 Abbey church of Santa María la Real de Las Toledo Cathedral, plan. From Rodrigo century, with late 18th-century additions). (Stuttgart: Cotta 1901), pl. 523, 2. Huelgas, nave with nuns’ choir. Lithograph Amador de los Ríos, Monumentos after a drawing by Genaro Pérez Villaamil (c. arquitectónicos de España (Madrid: Ministerio 1.7 2.2 1842-50). From Genaro Pérez Villaamil and de Fomento, 1905). León Cathedral, presbytery and south transept Reims Cathedral, on the south side of the León Auguste Asselineau, España artística y (begun 1250s, complete by 1303 or earlier). nave. From Hartmut Krohm and Holger monumental (Barcelona: José Ribet, 1865), pl. 2.21 Kunde (eds.), Der Naumburger Meister 50. León Cathedral, stained glass window in the 1.8 – Bildhauer und Architekt im Europa der westernmost bay of the nave, image of Alfonso Guillem Sagrera, La Llotja, Palma de Mallorca Kathedralen, vol. 1 (Petersberg: Imhof, 2011), 2.12 X the Learned as Holy Roman Emperor. From (1426-1447). p. 295, fig. 2. Abbey church of Santa María la Real de Las Carlos Estepa Díez et al., La Catedral de León. Huelgas, Burgos, western portal from the Mil años de historia (León: Edilesa, 2002), p. 282. Photo: Imagen M.A.S. arcosolium in the Trinity Chapel (early 14th 3.19 4.8 century). Cathedral of Palma de Mallorca, Gothic Guillem Solivella (?), elevation of a pinnacle image-tabernacle of the Virgin Mary (14th (c.1400). Ink on paper. Arxiu Capitular de Chapter 3 3.10 century). Lleida (inv. P0148), Lérida. Cathedral of Palma de Mallorca, Guillem 3.1 Forteza’s hypothesis (black: first project built; 3.20 4.9 Cathedral of Palma de Mallorca, elevation. diagonal lines: first project not built; crossed Bellver Castle, Mallorca, upper gallery (begun Maestre Carlí (?), drawing for the main façade In Joan Domenge, L’obra de la seu. El procés lines: second project). In Guillem Forteza, before 1309). of Barcelona Cathedral, detail (c.1408). Ink on de construcción de la catedral de Mallorca ‘Estat de l’arquitectura catalana en temps parchment, 311 (6 Catalan spans) x 140 cm. en el tres-cents (Mallorca: Institut d’Estudis de Jaume I. Les determinants gòtiques de Arxiu Capitular de Barcelona, Barcelona. Baleàrics, 1997), fig. 22. la catedral de Mallorca’, in Miquel Seguí Chapter 4 Aznar (ed.), Guillem Forteza. Estudis sobre 3.2 arquitectura i urbanisme. Volum 2 (Barcelona: 4.1 Chapter 5 Bellver Castle, Mallorca, courtyard (begun Abadia de Montserrat, 1984). Pinnacle (c.1440). Polychrome wood, 150 cm before 1309). high. Museo de la Ciudad, Ayuntamiento de 5.1 3.11 Valencia.
Load more

Recommended publications
  • Ley Foral 18/1986, De 15 De Diciembre, Del Vascuence
    LEGISLACIÓN CONSOLIDADA Ley Foral 18/1986, de 15 de diciembre, del vascuence. Comunidad Foral de Navarra «BON» núm. 154, de 17 de diciembre de 1986 «BOE» núm. 17, de 20 de enero de 1987 Referencia: BOE-A-1987-1257 ÍNDICE Preámbulo................................................................ 3 TÍTULO PRELIMINAR. Disposiciones generales........................................... 3 Artículo 1.............................................................. 3 Artículo 2.............................................................. 4 Artículo 3.............................................................. 4 Artículo 4.............................................................. 4 Artículo 5.............................................................. 4 TÍTULO I. Del uso normal y oficial.................................................... 5 CAPÍTULO I. Disposiciones generales............................................... 5 Artículo 6.............................................................. 5 Artículo 7.............................................................. 5 Artículo 8.............................................................. 5 Artículo 9.............................................................. 5 CAPÍTULO II. Del uso oficial en la zona vascófona........................................ 6 Artículo 10............................................................. 6 Artículo 11............................................................. 6 Artículo 12............................................................. 6 Artículo
    [Show full text]
  • 2012 Barcelona Christmas Agenda Ang
    CHRISTMAS NEW YEAR’S EVE IN BARCELONA We celebrate New Year with food and parties as 2012 / 2013 we wait for the city clocks to strike midnight. Then everyone eats twelve lucky grapes, one by FESTIVALS AND TRADITIONS one, and drinks a toast with cava while they wish each other a Happy New Year. “PESSEBRE” THE THREE KINGS OF THE ORIENT The crib is displayed in the home and features This is the big day for children during the festive figures from the Nativity arranged in a specific season. On the evening of 5th January, the Three order. In recent years, living nativity scenes have Kings arrive in Barcelona and travel in a grown in popularity in Catalonia. They feature procession around the city in their royal carriages real people who re-enact different episodes from throwing sweets to the people in the crowd. After the Christmas story and are usually held in the children have welcomed the Kings, it’s time beautiful settings in towns and villages around the for them to go to bed. Before they do, they leave region. their slippers and something to eat for the Kings, their camels and pages, by the window or the “CAGANER” balcony. On the morning of the 6th January the The caganer , the curious crouching figure, is one children find the presents left by the Kings. of the most popular features of Catalan Nativity Children that have been naughty receive a lump of scenes. It is believed to date back to the 17th or coal. 18th centuries. For further information: www.bcn.cat/nadal “TIÓ” An old log which people used to place by the fire CHRISTMAS FAIRS AND MARKETS on Christmas Eve as a token of abundance.
    [Show full text]
  • Servert\E\Carpeta De Treball Comuna
    Document Únic de Protecció Civil Municipal de Torroella de Fluvià 27/02/2017 DOCUMENT ÚNIC DE PROTECCIÓ CIVIL MUNICIPAL DE TORROELLA DE FLUVIÀ Document Únic de Protecció Civil Municipal de Torroella de Fluvià 27/02/2017 Aquest Pla de protecció civil ha estat realitzat arrel d'un conveni entre l'Ajuntament de Torroella de Fluvià i el Consell Comarcal de l'Alt Empordà Ajuntament de Torroella de Fluvià Redacció del pla i memòria: Martí Roqué Esteba Cartografia i mapes: Serveis tècnics CCAE Document Únic de Protecció Civil Municipal de Torroella de Fluvià 27/02/2017 ÍNDEX 1. Document 1. Generalitats i Organització Municipal ............................................................. 5 1.1. Introducció, normativa i disposicions legals ............................................................. 5 1.2. Dades generals del municipi ..................................................................................... 7 1.2.1. IDENTIFICACIÓ DEL MUNICIPI ........................................................................... 7 1.2.2. SITUACIÓ GEOGRÀFICA ..................................................................................... 7 1.2.3. DADES DE POBLACIÓ ......................................................................................... 8 1.2.4. INFRAESTRUCTURES I VIES DE COMUNICACIÓ ................................................. 9 1.2.5. SERVEIS BÀSICS ................................................................................................ 11 1.2.6. CLIMATOLOGIA...............................................................................................
    [Show full text]
  • Socio-Ecological Complexity and Ecosystem Services. an Analysis Of
    ADVERTIMENT. Lʼaccés als continguts dʼaquesta tesi queda condicionat a lʼacceptació de les condicions dʼús establertes per la següent llicència Creative Commons: http://cat.creativecommons.org/?page_id=184 ADVERTENCIA. El acceso a los contenidos de esta tesis queda condicionado a la aceptación de las condiciones de uso establecidas por la siguiente licencia Creative Commons: http://es.creativecommons.org/blog/licencias/ WARNING. The access to the contents of this doctoral thesis it is limited to the acceptance of the use conditions set by the following Creative Commons license: https://creativecommons.org/licenses/?lang=en Socio-ecological complexity and ecosystem Services An analysis of ecosystem services coproduction and access in the case of Barcelona’s cruise ship tourism PhD Thesis Liliana Solé Figueras Socio-ecological complexity and ecosystem services An analysis of ecosystem services coproduction and access in the case of Barcelona’s cruise ship tourism PhD thesis developed by Liliana Solé Figueras Supervised by Dr.Eduard Ariza Solé PhD program in Geography Department of Geography Universitat Autònoma de Barcelona (UAB) September 2019 Supervisor statement I STATE that the present study, entitled ‘Socio-ecological complexity and ecosystem services. An analysis of ecosystem services coproduction and access in the case of Barcelona’s cruise ship tourism’, presented by Liliana Solé Figueras for the award of the degree of Doctor, has been carried out under my supervision at the Department of Geography of this university. Bellaterra, 17th Setember 2019. Doctoral thesis supervisor PhD student Director de la tesis doctoral Doctoranda Eduard Ariza Solé Liliana Solé Figueras i Summary Coastal landscapes are highly dynamic and complex socio-ecological systems resulting from the interface of land and sea.
    [Show full text]
  • TRAVEL AROUND SPAIN SPAIN Contents
    TRAVEL AROUND SPAIN SPAIN Contents Introduction.................................................................6 General information......................................................7 Transport...................................................................10 Accommodation..........................................................13 Food.........................................................................15 Culture......................................................................16 Region by region and places to visit..............................18 Andalusia........................................................19 Aragon............................................................22 Asturias..........................................................25 Balearic Islands...............................................28 Basque Country................................................31 Canary Islands.................................................34 Cantabria........................................................37 Castille-La Mancha...........................................40 Castille and León.............................................43 Catalonia........................................................46 Ceuta.............................................................49 Extremadura....................................................52 Galicia............................................................55 La Rioja..........................................................58 Madrid............................................................61
    [Show full text]
  • Coastal Iberia
    distinctive travel for more than 35 years TRADE ROUTES OF COASTAL IBERIA UNESCO Bay of Biscay World Heritage Site Cruise Itinerary Air Routing Land Routing Barcelona Palma de Sintra Mallorca SPAIN s d n a sl Lisbon c I leari Cartagena Ba Atlantic PORTUGALSeville Ocean Granada Mediterranean Málaga Sea Portimão Gibraltar Seville Plaza Itinerary* This unique and exclusive nine-day itinerary and small ship u u voyage showcases the coastal jewels of the Iberian Peninsula Lisbon Portimão Gibraltar between Lisbon, Portugal, and Barcelona, Spain, during Granada u Cartagena u Barcelona the best time of year. Cruise ancient trade routes from the October 3 to 11, 2020 Atlantic Ocean to the Mediterranean Sea aboard the Day exclusively chartered, Five-Star LE Jacques Cartier, featuring 1 Depart the U.S. or Canada the extraordinary Blue Eye, the world’s first multisensory, underwater Observation Lounge. This state-of-the-art small 2 Lisbon, Portugal/Embark Le Jacques Cartier ship, launching in 2020, features only 92 ocean-view Suites 3 Portimão, the Algarve, for Lagos and Staterooms and complimentary alcoholic and nonalcoholic beverages and Wi-Fi throughout the ship. Sail up Spain’s 4 Cruise the Guadalquivir River into legendary Guadalquivir River, “the great river,” into the heart Seville, Andalusia, Spain of beautiful Seville, an exclusive opportunity only available 5 Gibraltar, British Overseas Territory on this itinerary and by small ship. Visit Portugal’s Algarve region and Granada, Spain. Stand on the “Top of the Rock” 6 Málaga for Granada, Andalusia, Spain to see the Pillars of Hercules spanning the Strait of Gibraltar 7 Cartagena and call on the Balearic Island of Mallorca.
    [Show full text]
  • Navarra, Comunidad Foral De
    DIRECCIÓN GENERAL DE ARQUITECTURA, VIVIENDA Y SUELO Navarra, Comunidad Foral de CÓDIGO POBLACIÓN TIPO FIGURA AÑO PUBLIC. PROVINCIA INE MUNICIPIO 2018 PLANEAMIENTO APROBACIÓN Navarra 31001 Abáigar 87 Normas Subsidiarias 1997 Navarra 31002 Abárzuza/Abartzuza 550 Plan General 1999 Navarra 31003 Abaurregaina/Abaurrea Alta 121 Plan General 2016 Navarra 31004 Abaurrepea/Abaurrea Baja 33 Plan General 2016 Navarra 31005 Aberin 356 Plan General 2003 Navarra 31006 Ablitas 2.483 Plan General 2015 Navarra 31007 Adiós 156 Plan General 2019 Navarra 31008 Aguilar de Codés 72 Plan General 2010 Navarra 31009 Aibar/Oibar 791 Plan General 2009 Navarra 31011 Allín/Allin 850 Plan General 2015 Navarra 31012 Allo 983 Plan General 2002 Navarra 31010 Altsasu/Alsasua 7.407 Plan General 2003 Navarra 31013 Améscoa Baja 730 Plan General 2003 Navarra 31014 Ancín/Antzin 340 Normas Subsidiarias 1995 Navarra 31015 Andosilla 2.715 Plan General 1999 Navarra 31016 Ansoáin/Antsoain 10.739 Plan General 2019 Navarra 31017 Anue 485 Plan General 1997 Navarra 31018 Añorbe 568 Plan General 2012 Navarra 31019 Aoiz/Agoitz 2.624 Plan General 2004 Navarra 31020 Araitz 525 Plan General 2015 Navarra 31025 Arakil 949 Normas Subsidiarias 2014 Navarra 31021 Aranarache/Aranaratxe 70 Sin Planeamiento 0 Navarra 31023 Aranguren 10.512 Normas Subsidiarias 1995 Navarra 31024 Arano 116 Plan General 1997 Navarra 31022 Arantza 614 Normas Subsidiarias 1994 Navarra 31026 Aras 157 Plan General 2008 Navarra 31027 Arbizu 1.124 Plan General 2017 Navarra 31028 Arce/Artzi 264 Plan General 1997 Navarra
    [Show full text]
  • The COMICAL HISTORY of ALPHONSUS, KING of ARAGON
    ElizabethanDrama.org presents the Annotated Popular Edition of The COMICAL HISTORY of ALPHONSUS, KING OF ARAGON By Robert Greene Written c. 1588-1591 Earliest Extant Edition: 1599 Featuring complete and easy-to-read annotations. Annotations and notes © Copyright Peter Lukacs and ElizabethanDrama.org, 2021. This annotated play may be freely copied and distributed. The COMICAL HISTORY of ALPHONSUS, KING OF ARAGON by ROBERT GREENE Written c. 1588-1591 Earliest Extant Edition: 1599 DRAMATIS PERSONAE: European Characters: Carinus, the rightful heir to the crown of Aragon. Alphonsus, his son. Flaminius, King of Aragon. INTRODUCTION to the PLAY. Albinius, a Lord of Aragon Laelius, a Lord of Aragon There is no point in denying that Alphonsus, King of Miles, a Lord of Aragon Aragon, Robert Greene's first effort as a dramatist, is Belinus, King of Naples. clearly inferior to Christopher Marlowe's Tamburlaine, the Fabius, a Lord of Naples. play (or plays, really) that inspired it. Having said that, a Duke of Millain (Milan). modern reader can still enjoy Greene's tale of his own un- conquerable hero, and will appreciate the fact that, unlike Eastern Characters: the works of other lesser playwrights, Alphonsus does move briskly along, with armies swooping breathlessly on Amurack, the Great Turk. and off the stage. Throw in Elizabethan drama's first talking Fausta, wife to Amurack. brass head, and a lot of revenge and murder, and the reader Iphigina, their daughter. will be amply rewarded. Arcastus, King of the Moors. The language of Alphonsus is also comparatively easy Claramont, King of Barbary. to follow, making it an excellent starter-play for those who Crocon, King of Arabia.
    [Show full text]
  • 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.
    [Show full text]
  • St. Peter's Basilica
    UF “ROME PROJECT” LESSON 1 Reading and comprehension COLOSSEUM The Colosseum, or the Coliseum, originally the Flavian Amphitheatre (Anfiteatro Flavio or Colosseo), is an amphitheatre in the centre of the city of Rome. It’s the largest amphitheatre ever built in the Roman Empire. It is elliptical in plan and it’s 188 metres long. Inside the Colosseum there were about 50,000 seats for the spectators. The height of the outer wall is 48 meters. The Colosseum was used for gladiatorial contests and public spectacles such as mock sea battles, animal hunts, executions and dramas based on Classical mythology. The Colosseum is one of the symbols of Imperial Rome. ST. PETER’S BASILICA The Papal Basilica of Saint Peter is commonly known as Saint Peter's Basilica and it is a Late Renaissance church located within the Vatican City. In Roman Catholic tradition, the basilica is the burial site of its namesake Saint Peter, who was one of the twelve apostles of Jesus. The basilica is within a forecourt in two sections, both surrounded by tall colonnades. The basilica is cruciform in shape, with an elongated nave in the Latin cross form. The basilica contains a large number of tombs of popes considered outstanding artworks. There are also a number of sculptures in niches and chapels, including Michelangelo’s “Pieta”. The central feature is a baldachin over the Papal Altar designed by Lorenzo Bernini. The Basilica of St. Peter is one of four papal basilicas (Major Basilicas) of Rome: the other basilicas are The Basilica of St. John Lateran, Santa Maria Maggiore and St.
    [Show full text]
  • 'Alonso Berruguete: First Sculptor of Renaissance Spain' Review: A
    ART REVIEW ‘Alonso Berruguete: First Sculptor of Renaissance Spain’ Review: A Taste of Spain Embodying the ideas that flourished in Renaissance Italy, Alonso Berruguete became a sort of Iberian Michelangelo. Alonso Berruguete’s ‘Calvary Group: Crucified Christ Flanked by the Virgin Mary and St. John the retablo mayor of San Benito el Real, top PHOTO: MUSEO NACIONAL DE ESCULTURA, VALLADOLID, SPAIN the Evangelist’ (1526/33) from the retablo mayor of San Benito el Real, Eric Gibson 14 de enero de 2020 Washington We generally associate the word “Renaissance” with art produced in Italy from roughly the 15th through 16th centuries. But the ideas that flowered there spread far and wide —including to Spain, where their greatest exponent was Alonso Berruguete, an electrifying sculptor now the subject of a small show at the National Gallery of Art. Alonso Berruguete: First Sculptor of Renaissance Spain National Gallery of Art Through Feb. 17 Organized by C.D. Dickerson III of the National Gallery, Mark McDonald of the Metropolitan Museum of Art, and Wendy Sepponen of the Meadows Museum at Southern Methodist University, where it travels after closing in Washington, “Alonso Berruguete: First Sculptor of Renaissance Spain” brings together about three dozen works in all media, along with about a dozen more works by other artists for context, including his painter father, Pedro. This is the first National Gallery show exclusively devoted to so-called Golden Age Spanish sculpture, and one’s reaction after taking in its rich polychromy, emotional intensity and ability to engage with the viewer in a way that makes all other European sculpture of the period seem diffident or aloof is to say: More, please.
    [Show full text]
  • (Thalamus) in Images of the Annunciation of the 14Th-15Th Centuries in the Light of Latin Patristics
    International Journal of History and Cultural Studies (IJHCS) Volume 5, Issue 4, 2019, PP 49-70 ISSN 2454-7646 (Print) & ISSN 2454-7654 (Online) DOI: http://dx.doi.org/10.20431/2454-7654.0504005 www.arcjournals.org The Symbol of Bed (Thalamus) in Images of the Annunciation of the 14th-15th Centuries in the Light of Latin Patristics José María Salvador-González* Professor of Art History, Faculty of Geography and History, Complutense University of Madrid, Spain *Corresponding Author: José María Salvador-González, Professor of Art History, Faculty of Geography and History, Complutense University of Madrid, Spain Abstract: This article attempts to interpret the doctrinal meanings hidden under the bed symbol in some images of the Annunciation of the 14th and 15th centuries. For this purpose, thirteen Annunciations of this period which include that piece of furniture are analyzed, and in passing some inadequate interpretations that have been given about any of these pictorial images are evidenced. To justify our interpretations, we rely on an abundant corpus of texts through which many Fathers and theologians of the Latin Church consider the thalamus concept as an eloquent metaphor for the incarnation of the Son of God as a man in the Virgin Mary’s womb, as well as for her virginal divine maternity. Keywords: Christian Iconography – Medieval Art – Annunciation – Christ’s Incarnation. The increasingly complex and detailed images of the Annunciation of the 14th and 15th centuries include almost always some narrative details –such as a stem of lilies,1 a book of prayers, a house in the form of a temple,2 the divine ray of light descending, with the dove of the Holy Spirit, towards the Mary‘s ear,3 or the submissive and demure attitude of the Virgin Mary4—, whose respective symbolism has been highlighted, with greater or lesser success, by numerous experts.
    [Show full text]