DOCSLIB.ORG

2008 Romanesque in the Sousa Valley.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2008 Romanesque in the Sousa Valley.Pdf ROMANESQUE IN THE SOUSA VALLEY ATLANTIC OCEAN Porto Sousa Valley PORTUGAL Lisbon S PA I N AFRICA FRANCE I TA LY MEDITERRANEAN SEA Index 13 Prefaces 31 Abbreviations 33 Chapter I – The Romanesque Architecture and the Scenery 35 Romanesque Architecture 39 The Romanesque in Portugal 45 The Romanesque in the Sousa Valley 53 Dynamics of the Artistic Heritage in the Modern Period 62 Territory and Landscape in the Sousa Valley in the 19th and 20th centuries 69 Chapter II – The Monuments of the Route of the Romanesque of the Sousa Valley 71 Church of Saint Peter of Abragão 73 1. The church in the Middle Ages 77 2. The church in the Modern Period 77 2.1. Architecture and space distribution 79 2.2. Gilding and painting 81 3. Restoration and conservation 83 Chronology 85 Church of Saint Mary of Airães 87 1. The church in the Middle Ages 91 2. The church in the Modern Period 95 3. Conservation and requalification 95 Chronology 97 Castle Tower of Aguiar de Sousa 103 Chronology 105 Church of the Savior of Aveleda 107 1. The church in the Middle Ages 111 2. The church in the Modern Period 112 2.1. Renovation in the 17th-18th centuries 115 2.2. Ceiling painting and the iconographic program 119 3. Restoration and conservation 119 Chronology 121 Vilela Bridge and Espindo Bridge 127 Church of Saint Genes of Boelhe 129 1. The church in the Middle Ages 134 2. The church in the Modern Period 138 3. Restoration and conservation 139 Chronology 141 Church of the Savior of Cabeça Santa 143 1. The church in the Middle Ages 151 2. The church in the Modern Period 152 2.1. Chapel of Our Lady of the Rosary 153 3. Restoration and conservation 155 Chronology 157 Monastery of Saint Peter of Cête 159 1. The monastery in the Middle Ages 169 1.1. Funerary sculpture 169 1.2. Other epigraphies 170 1.3. Mural painting 170 2. The church in the Modern Period 171 3. Restoration and conservation 171 3.1. Restoration in the 19th century 172 3.2. Restoration in the 20th century 173 Chronology 175 Hermitage of Our Lady of the Valley 187 Chronology 189 Church of Saint Michael of Entre-os-Rios 191 1. The church in the Middle Ages 196 2. The church in the Modern Period 196 2.1. The parish church: the community’s focal point 198 2.2. Architecture, gilding and iconography 200 3. Restoration and conservation 201 Chronology 203 Monastery of Saint Peter of Ferreira 205 1. The monastery in the Middle Ages 216 1.1. Funerary sculpture 217 2. The church in the Modern Period 217 3. Restoration and conservation 221 Chronology 223 Hermitage Memorial and Marmoreal of Sobrado 233 Chronology 235 Church of Saint Mary of Meinedo 237 1. The church in the Middle Ages 240 1.1. The image of Saint Mary of Meinedo 242 2. The church in the Modern Period 244 2.1. Gilding, painting and tiling 249 3. Restoration and conservation 249 Chronology 251 Monastery of the Savior of Paço de Sousa 253 1. The monastery in the Middle Ages 263 1.1. The tomb of Egas Moniz 267 1.2. Epigraphies 267 2. The monastery in the Modern Period 269 2.1. Architecture 270 2.2. Church gilding, imagery and iconographic composition 274 3. Restoration and conservation 274 3.1. Renovation in the 19th century 276 3.2. Renovation in the 20th century 279 Chronology 281 Monastery of Saint Mary of Pombeiro 283 1. The monastery in the Middle Ages 292 1.1. The image of Saint Mary of Pombeiro 293 1.2. Funerary sculpture 295 1.3. Epigraphies 296 1.4. Mural painting 299 2. The monastery in the Modern Period 301 2. 1. The monastery and the Order of Saint Benedict in Portugal 303 2. 2. Renovation of the monastery’s church and sacristy 309 3. The monastery and the fencing in the 19th century 311 3.1. Restoration and conservation 312 Chronology 315 Church of Saint Vincent of Sousa 317 1. The church in the Middle Ages 323 2. The church in the Modern Period 326 2. 1. Iconographic programs of the altars and ceiling 331 3. Conservation and requalification 331 Chronology 333 Church of the Savior of Unhão 335 1. The church in the Middle Ages 341 2. The church in the Modern Period 341 2.1. Architecture, bell tower and via-sacra 343 2.2. Gilding, painting and tiling 346 3. Restoration and conservation 347 Chronology 349 Tower of Vilar 355 Chronology 357 Church of Saint Mammes of Vila Verde 359 1. The church in the Middle Ages 365 2. The church in the Modern Period 366 3. Conservation and requalification 367 Chronology 369 Glossary 377 Bibliography Prefaces The Importance of the RRSV to the Sousa Valley Region Heritage is increasingly becoming a differentiating factor in the competition between regions. Asides from 15 emulating and reconciling the forthcoming generations with history, it is also an ethical obligation in good public management to place it at the service of the community. In the Sousa Valley, we sought to explore that way. Sometimes we felt it is a rough path upon facing our territory’s difficulties, particularly the diffuse territorial organization and the – yet – persistent insensitivity towards the subject. However, even though the RRSV is not exactly the goose that found in the Sousa Valley the ideal place to lay its golden eggs, it is certainly a powerful instrument to help us turn the image of the Region around and endow it with a top quality touristic product, well matured and structured, with the world’s best in this particular area. Let us all – politicians, public and (especially) private entities – know how to take its reins so that it will not fade after the first rainfall. At the time of its birth, it is also fair to remember all of those who dreamt, idealized, worked, left, embraced and still give their souls for this project. They are many and therefore would not fit this page. Alberto Santos President of Valsousa – The Sousa Valley’s Urban Community 16 The Route of the Romanesque of the Sousa Valley and Regional Development The diagnosis elaborated in recent years for the Sousa Valley has shown how urgent it is to create an in- 17 tegrated development strategy for this space, providing for its self-support, the organization and balance of the territory, the concern with human resources and the exploration of its endogenous, socio-cultural and environmental potential. The development of the region depends, therefore, of the integration, articulation and strengthening/con- sistency of all these vectors. It is up to the local entities and agents, in an initial intervention stage, to insure the necessary conditions to let that process occur. In this sense, the still significant and valuable patrimony of the Sousa Valley – particularly its Romanesque buildings – should be a milestone in the promotion of the cultural/patrimonial tourism. Its growing demand opens new perspectives in the diversification of economical activities, promoting a possible income and job source in the local communities and spiking up the traditional trade. Thus, the promotion of cultural tourism is an indispensable element to create synergies that will allow us to draw public and private investment, increase the profit from the local touristic clusters, grant a general quality to the image of the touristic destinations and compensate the public investment in the recuperation, improvement and maintenance of specific patrimonial objects or in the restoration of cultural equipments. The Route of the Romanesque of the Sousa Valley (RRSV), planed for an implementation in several steps articulated in time and in space, has the intention of becoming a factor of progress and of socio-cultural qualification for the local communities and, ultimately, contributing to the region’s development. Initiated with works affecting the infrastructures, which allowed to improve its 21 monuments, the Route will gain life, identity and sustainability through the process of promoting, spreading the word and activi- ties around this patrimony. The conducted works are already visible, and those that are being carried out and programmed for the upcoming years provide a frankly optimistic perspective of this pilot-project’s future and its impact in the region. As it progresses, we observe a growing adherence and enthusiasm by the countless intervenients in its construction process, simultaneously with the progressive consolidation of its support and manage- ment structure. In fact, the RRSV has come to conquer, from its start, an increasingly determinant part and its own space as a project of collaboration and partnership between entities, technical teams, local agents, residents and visitors, which should motivate us to add new contributes and competences to the project, expanding its effects in the valuing of the patrimony and its surrounding territory. 18 Cristina de Azevedo Vice-President of the Committee of Regional Coordination and Development of the North Patrimony as an Element of the Territory’s Identity In our days, man experiences the need to know, to see and to feel where he came from in order to decide 19 his future course. This need leads us to preserve, according to scientific and updated criteria, the remai- ning testimonies of the life, art and culture of the past, thus embodying an aspiration of the contemporary society of fighting the loss of its roots. Just like a landscape can materialize the memory of an event, the physical patrimony, in order to maintain its cultural interest, cannot be dissociated from certain environmental and existential characteristics that compose the survival of the collective conscience of the communities that built, lived and inhabit it.
Load more

Recommended publications
  • The Sasanian Tradition in ʽabbāsid Art: Squinch Fragmentation As The
    The Sasanian Tradition in ʽAbbāsid Art: squinch fragmentation as The structural origin of the muqarnas La tradición sasánida en el arte ʿabbāssí: la fragmentación de la trompa de esquina como origen estructural de la decoración de muqarnas A tradição sassânida na arte abássida: a fragmentação do arco de canto como origem estrutural da decoração das Muqarnas Alicia CARRILLO1 Abstract: Islamic architecture presents a three-dimensional decoration system known as muqarnas. An original system created in the Near East between the second/eighth and the fourth/tenth centuries due to the fragmentation of the squinche, but it was in the fourth/eleventh century when it turned into a basic element, not only all along the Islamic territory but also in the Islamic vocabulary. However, the origin and shape of muqarnas has not been thoroughly considered by Historiography. This research tries to prove the importance of Sasanian Art in the aesthetics creation of muqarnas. Keywords: Islamic architecture – Tripartite squinches – Muqarnas –Sasanian – Middle Ages – ʽAbbāsid Caliphate. Resumen: La arquitectura islámica presenta un mecanismo de decoración tridimensional conocido como decoración de muqarnas. Un sistema novedoso creado en el Próximo Oriente entre los siglos II/VIII y IV/X a partir de la fragmentación de la trompa de esquina, y que en el siglo XI se extendió por toda la geografía del Islam para formar parte del vocabulario del arte islámico. A pesar de su importancia y amplio desarrollo, la historiografía no se ha detenido especialmente en el origen formal de la decoración de muqarnas y por ello, este estudio pone de manifiesto la influencia del arte sasánida en su concepción estética durante el Califato ʿabbāssí.
    [Show full text]
  • 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 ..........................................................................................................
    [Show full text]
  • Commerce and Exchange Buildings Listing Selection Guide Summary
    Commerce and Exchange Buildings Listing Selection Guide Summary Historic England’s twenty listing selection guides help to define which historic buildings are likely to meet the relevant tests for national designation and be included on the National Heritage List for England. Listing has been in place since 1947 and operates under the Planning (Listed Buildings and Conservation Areas) Act 1990. If a building is felt to meet the necessary standards, it is added to the List. This decision is taken by the Government’s Department for Digital, Culture, Media and Sport (DCMS). These selection guides were originally produced by English Heritage in 2011: slightly revised versions are now being published by its successor body, Historic England. The DCMS‘ Principles of Selection for Listing Buildings set out the over-arching criteria of special architectural or historic interest required for listing and the guides provide more detail of relevant considerations for determining such interest for particular building types. See https:// www.gov.uk/government/publications/principles-of-selection-for-listing-buildings. Each guide falls into two halves. The first defines the types of structures included in it, before going on to give a brisk overview of their characteristics and how these developed through time, with notice of the main architects and representative examples of buildings. The second half of the guide sets out the particular tests in terms of its architectural or historic interest a building has to meet if it is to be listed. A select bibliography gives suggestions for further reading. This guide treats commercial buildings. These range from small local shops to huge department stores, from corner pubs to Victorian ‘gin palaces’, from simple sets of chambers to huge speculative office blocks.
    [Show full text]
  • Barcelona and the Paradox of the Baroque by Jorge Luis Marzo1
    Barcelona and the Paradox of the Baroque By Jorge Luis Marzo1 Translation by Mara Goldwyn Catalan historiography constructed, even from its very beginnings, the idea that Catalunya was not Baroque; that is, Baroque is something not very "proper" to Catalunya. The 17th and 18th centuries represent the dark Baroque age, in contrast with a magnificent Medieval and Renaissance era, during which the kingdom of Catalunya and Aragón played an important international role in a large part of the Mediterranean. The interpretation suggests that Catalunya was Baroque despite itself; a reading that, from the 19th century on - when it is decided that all negative content about Baroque should be struck from the record in order to transform it into a consciously commercial and urban logo - makes implicit that any reflection on such content or Baroque itself will be schizophrenic and paradoxical. Right up to this day. Though the (always Late-) Baroque style was present in buildings, embellishments and paintings, it however did not have an official environment in which to expand and legitimate itself, nor urban spaces in which to extend its setup (although in Tortosa, Girona, and other cities there were important Baroque features). The Baroque style was especially evident in rural churches, but as a result of the occupation of principle Catalan plazas - particularly by the Bourbon crown of Castile - principal architectonic realizations were castles and military forts, like the castle of Montjuic or the military Citadel in Barcelona. Public Baroque buildings hardly existed: The Gothic ones were already present and there was little necessity for new ones. At the same time, there was more money in the private sphere than in the public for building, so Baroque programs were more subject to family representation than to the strictly political.
    [Show full text]
  • Evaluation of the Central Narthex Portal at Sainte-Madeleine De Vèzelay" (2005)
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2005 Evaluation of the central narthex portal at Sainte- Madeleine de Vèzelay Christine Ann Zeringue Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Zeringue, Christine Ann, "Evaluation of the central narthex portal at Sainte-Madeleine de Vèzelay" (2005). LSU Master's Theses. 85. https://digitalcommons.lsu.edu/gradschool_theses/85 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. EVALUATION OF THE CENTRAL NARTHEX PORTAL AT SAINTE-MADELEINE DE VÉZELAY A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Art by Christine Ann Zeringue B.S., Louisiana State University, 2000 May 2005 ACKNOWLEDGEMENTS I would like to thank Dr. Kirstin Noreen for her invaluable guidance and patience throughout the long process of creating this thesis. Without her continuing support I would never have completed my degree. Drs. Mark Zucker and Marchita Mauck also deserve my thanks for working me into their busy schedules by agreeing to serve on my graduate committee. I would also like to thank Professor H. Parrot Bacot for all the wonderful talks we had during the early preparations for my thesis.
    [Show full text]
  • Viseu Dão Lafões Viseu Dão Lafões
    TCP_Capas_Guias v3 AF.pdf 1 07/05/2019 10:28 C M Y CM MY CY CMY K COMO CHEGAR Viseu Ria de Aveiro Viseu // Dão-Lafões Região de Leiria Serra da Estrela Águeda Aguiar da Beira Alvaiázere Almeida VINDO DE NORTE DE COMBOIO Albergaria-a-Velha Carregal do Sal Ansião Belmonte Pela A25 seguir no sentido Guarda A Linha da Beira Alta é um troço Dão-Lafões Anadia Castro Daire Batalha Celorico da Beira | Viseu | Espanha até à saída para a ferroviário que liga a estação de Aveiro Mangualde Castanheira de Pera Covilhã N231 em direção a Viseu | Nelas | Seia. Pampilhosa à de Vilar Formoso Estarreja Nelas Figueiró dos Vinhos Figueira de Castelo Rodrigo (estações de Mortágua, Santa VINDO DE VILAR FORMOSO Ílhavo Oliveira de Frades Leiria Fornos de Algodres Comba Dão, Carregal do Sal, Nelas e Murtosa Penalva do Castelo Marinha Grande Fundão Pela A25 no sentido Aveiro até à saída Mangualde). Oliveira do Bairro Santa Comba Dão Pedrógão Grande Gouveia para a N16 em direção a Viseu. Ovar São Pedro do Sul Pombal Guarda Para mais informações contacte a CP: Sever do Vouga Sátão Porto de Mós Manteigas VINDO DE LISBOA (+351) 707 210 220 ou www.cp.pt Pela A1-Norte sair pelo IP3 sentido Vagos Tondela Mêda DE AUTOCARRO Vila Nova de Paiva Pinhel Viseu e seguir até à saída Viseu-Sul Viseu Sabugal ou seguir até à A25 sentido Viseu | A Rede Nacional de Expressos Vouzela Seia Espanha até à saída para N231 em assegura a ligação à região e a Trancoso direção Viseu | Nelas | Seia.
    [Show full text]
  • Beira-Alta Mesa De Voto.Pdf
    INSTITUIÇÃO HORÁRIO LOCALIZAÇÃO QUEM VOTA CH Tondela Viseu – Dep. Psiquiatria 9h30 – 10h Dep Psiquiatria Sócios do Departamento de Psiquiatria do CH Tondela Viseu CH Tondela Viseu - Hospital S. 10h30 – 13h A Designar Sócios do Hospital São Teotónio – Viseu Teotónio - Viseu Sócios da Casa de Saúde São Mateus Sócios do Hospital da CUF Viseu ACES Dão Lafões - Centro de Saúde CS Carregal Sal Sócios do CS Carregal Sal* 10h.15 – 10h30 de Carregal do Sal ACES Dão Lafões - Centro de Saúde 11h – 11.h30 CS Sta Comba Dão Sócios do CS Santa Comba Dão* Santa Comba Dão CH Tondela Viseu - Hospital Tondela 12h – 13h A Designar Sócios do H. Tondela e do CS Tondela* e INEM/SIV Tondela C. Saúde Viseu 1 e 2- Unidades da 10h – 10h30 Sede do ACES Dão Lafões Sócios dos CS de Viseu 1 e 2 - Unidades do Edifício Sede do sede do ACES Dão Lafões ACES Dão Lafões* C Saúde Viseu 3 - Unid de Jugueiros 11h – 11h30 CS Viseu 3 Sócios do CS Viseu 3* - Unidades de Jugueiros C Saúde de São Pedro do Sul 9h – 9h20 CS São Pedro do Sul Sócios do CS São Pedro do Sul* e INEM/SIV São Pedro do Sul C Saúde de Oliveira de Frades 10h – 10h20 CS Oliveira Frades Sócios do CS Oliveira de Frades* Centro de Saúde de Vouzela 11h – 11h20 CS Vouzela Sócios do CS Vouzela* e Stª Casa Misericórdia Vouzela (UCC) Centro de Saúde de Castro Daire 12h – 12h20 CS Castro Daire Sócios do CS Castro Daire* e Santa Casa da Misericórdia Castro Daire (UCC) Centro de Saúde de Mangualde 9h – 9h15 CS Mangualde Sócios da USF e UCC Mangualde* Sócios da Santa Casa da Misericórdia Mangualde Centro de Saúde de Mangualde
    [Show full text]
  • Archivolt the Continuous Molding Framing an Arch. in Romanesque Or Gothic Architecture, One of the Series of Concentric Bands Framing the Tympanum
    archivolt The continuous molding framing an arch. In Romanesque or Gothic architecture, one of the series of concentric bands framing the tympanum. baptistery In Christian architecture, the building used for baptism, usually situated next to a church. barrel vault A masonry roof or ceiling constructed on the arch principle. A barrel or tunnel vault, semicylindrical in cross­section, is in effect a deep arch or an uninterrupted series of arches, one behind the other, over an oblong space. A quadrant vault is a half­barrel vault. A groin or cross vault is formed at the point at which two barrel vaults intersect at right angles. In a ribbed vault, there is a framework of ribs or arches under the intersections of the vaulting sections. A sexpartite vault is a vault whose ribs divide the vault into six compartments. A fan vault is a vault characteristic of English Perpendicular Gothic, in which radiating ribs form a fanlike pattern. bestiary A collection of illustrations of real and imaginary animals. campanile A bell tower of a church, usually, but not always, freestanding. cathedra Latin, “seat.” See cathedral. cathedral A bishop's church. The word derives from cathedra, referring to the bishop’s seat. cloister A monastery courtyard, usually with covered walks or ambulatories along its sides. compound pier A pier with a group, or cluster, of attached shafts, or responds, especially characteristic of Gothic architecture. Crusades In medieval Europe, armed pilgrimages aimed at recapturing the Holy Land from the Muslims. crypt A vaulted space under part of a building, wholly or partly underground; in churches, normally the portion under an apse or a chevet.
    [Show full text]
  • The Architecture of the Italian Renaissance
    •••••••• ••• •• • .. • ••••---• • • - • • ••••••• •• ••••••••• • •• ••• ••• •• • •••• .... ••• .. .. • .. •• • • .. ••••••••••••••• .. eo__,_.. _ ••,., .... • • •••••• ..... •••••• .. ••••• •-.• . PETER MlJRRAY . 0 • •-•• • • • •• • • • • • •• 0 ., • • • ...... ... • • , .,.._, • • , - _,._•- •• • •OH • • • u • o H ·o ,o ,.,,,. • . , ........,__ I- .,- --, - Bo&ton Public ~ BoeMft; MA 02111 The Architecture of the Italian Renaissance ... ... .. \ .- "' ~ - .· .., , #!ft . l . ,."- , .• ~ I' .; ... ..__ \ ... : ,. , ' l '~,, , . \ f I • ' L , , I ,, ~ ', • • L • '. • , I - I 11 •. -... \' I • ' j I • , • t l ' ·n I ' ' . • • \• \\i• _I >-. ' • - - . -, - •• ·- .J .. '- - ... ¥4 "- '"' I Pcrc1·'· , . The co11I 1~, bv, Glacou10 t l t.:• lla l'on.1 ,111d 1 ll01nc\ S t 1, XX \)O l)on1c111c. o Ponrnna. • The Architecture of the Italian Renaissance New Revised Edition Peter Murray 202 illustrations Schocken Books · New York • For M.D. H~ Teacher and Prie11d For the seamd edillo11 .I ltrwe f(!U,riucu cerurir, passtJgts-,wwbly thOS<' on St Ptter's awl 011 Pnlladfo~ clmrdses---mul I lr,rvl' takeu rhe t>pportrmil)' to itJcorporate m'1U)1 corrt·ctfons suggeSLed to nu.• byfriet1ds mu! re11iewers. T'he publishers lwvc allowed mr to ddd several nt•w illusrra,fons, and I slumld like 10 rltank .1\ Ir A,firlwd I Vlu,.e/trJOr h,'s /Jelp wft/J rhe~e. 711f 1,pporrrm,ty /t,,s 11/so bee,r ft1ke,; Jo rrv,se rhe Biblfogmpl,y. Fc>r t/Jis third edUfor, many r,l(lre s1m1II cluu~J!eS lwvi: been m"de a,,_d the Biblio,~raphy has (IJICt more hN!tl extet1si11ely revised dtul brought up to date berause there has l,een mt e,wrmc>uJ incretlJl' ;,, i111eres1 in lt.1lim, ,1rrhi1ea1JrP sittr<• 1963,. wlte-,r 11,is book was firs, publi$hed. It sh<>uld be 110/NI that I haw consistc11tl)' used t/1cj<>rm, 1./251JO and 1./25-30 to 111e,w,.firs1, 'at some poiHI betwt.·en 1-125 nnd 1430', .md, .stamd, 'begi,miug ilJ 1425 and rnding in 14.10'.
    [Show full text]
  • Tribunal Judicial Da Comarca De Viseu Gabinete Da Presidência
    Conselho Superior da Magistratura Entrada no. 2018/02114 2018-02-23 14:03:49 TRIBUNAL JUDICIAL DA COMARCA DE VISEU GABINETE DA PRESIDÊNCIA Tribunal Judicial da Comarca de Viseu Relatório Anual Período abrangido: 01.01.2017 a 31.12.2017 A Juiz Presidente do Tribunal Judicial da Comarca de Viseu Maria José Guerra 1 TRIBUNAL JUDICIAL DA COMARCA DE VISEU GABINETE DA PRESIDÊNCIA Relatório Anual - Período abrangido: 01.01.2017 a 31.12.2017 I-Introdução 1. Âmbito do relatório Período abrangido: 01.01.2017 a 31.12.2017 Elabora-se o presente relatório anual do Tribunal Judicial da Comarca de Viseu, em obediência ao disposto no artigo 108º nº2 f) da Lei 62/2013, de 26.08 ( LOSJ ), tendente a demonstrar o grau de cumprimento dos objetivos fixados para os vários Juízos do mesmo, com indicação das causas dos principais desvios, no período compreendido entre 1 de Janeiro de 2017 e 31 de Dezembro de 2017. Método Recolha de dados efectuada na ferramenta de análise pendências do Citius, nos dias 09-01- 2018 (Quadros de Taxas e Indicadores) e 30-01-2018 (Quadros de Pendência Oficial e de Secretaria) O documento será objeto de parecer do Conselho Consultivo na próxima reunião. Foi aprovado pelo Conselho de Gestão a 23.02.2018. 2. Avaliação da atividade do Tribunal Judicial da Comarca de Viseu Cumprindo avaliar a atividade do Tribunal Judicial da Comarca de Viseu, em ordem a ponderar o cumprimento dos objetivos processuais propostos e homologados pelo CSM relativamente ao período compreendido entre 1 de Janeiro de 2017 e 31 de Dezembro de 2017, cumpre dizer o seguinte: 2 TRIBUNAL JUDICIAL DA COMARCA DE VISEU GABINETE DA PRESIDÊNCIA Com a implementação a partir 1 de Janeiro de 2017 da reconformação da organização judiciária, operada pela Lei 40-A/2016, de 22 de Dezembro e pelo Dec.
    [Show full text]
  • AUSTRALIAN ROMANESQUE a History of Romanesque-Inspired Architecture in Australia by John W. East 2016
    AUSTRALIAN ROMANESQUE A History of Romanesque-Inspired Architecture in Australia by John W. East 2016 CONTENTS 1. Introduction . 1 2. The Romanesque Style . 4 3. Australian Romanesque: An Overview . 25 4. New South Wales and the Australian Capital Territory . 52 5. Victoria . 92 6. Queensland . 122 7. Western Australia . 138 8. South Australia . 156 9. Tasmania . 170 Chapter 1: Introduction In Australia there are four Catholic cathedrals designed in the Romanesque style (Canberra, Newcastle, Port Pirie and Geraldton) and one Anglican cathedral (Parramatta). These buildings are significant in their local communities, but the numbers of people who visit them each year are minuscule when compared with the numbers visiting Australia's most famous Romanesque building, the large Sydney retail complex known as the Queen Victoria Building. God and Mammon, and the Romanesque serves them both. Do those who come to pray in the cathedrals, and those who come to shop in the galleries of the QVB, take much notice of the architecture? Probably not, and yet the Romanesque is a style of considerable character, with a history stretching back to Antiquity. It was never extensively used in Australia, but there are nonetheless hundreds of buildings in the Romanesque style still standing in Australia's towns and cities. Perhaps it is time to start looking more closely at these buildings? They will not disappoint. The heyday of the Australian Romanesque occurred in the fifty years between 1890 and 1940, and it was largely a brick-based style. As it happens, those years also marked the zenith of craft brickwork in Australia, because it was only in the late nineteenth century that Australia began to produce high-quality, durable bricks in a wide range of colours.
    [Show full text]
  • Circle Patterns in Gothic Architecture
    Bridges 2012: Mathematics, Music, Art, Architecture, Culture Circle patterns in Gothic architecture Tiffany C. Inglis and Craig S. Kaplan David R. Cheriton School of Computer Science University of Waterloo [email protected] Abstract Inspired by Gothic-influenced architectural styles, we analyze some of the circle patterns found in rose windows and semi-circular arches. We introduce a recursive circular ring structure that can be represented using a set-like notation, and determine which structures satisfy a set of tangency requirements. To fill in the gaps between tangent circles, we add Appollonian circles to each triplet of pairwise tangent circles. These ring structures provide the underlying structure for many designs, including rose windows, Celtic knots and spirals, and Islamic star patterns. 1 Introduction Gothic architecture, a style of architecture seen in many great cathedrals and castles, developed in France in the late medieval period [1, 3]. This majestic style is often applied to ecclesiastical buildings to emphasize their grandeur and solemnity. Two key features of Gothic architecture are height and light. Gothic buildings are usually taller than they are wide, and the verticality is further emphasized through towers, pointed arches, and columns. In cathedrals, the walls are often lined with large stained glass windows to introduce light and colour into the buildings. In the mid-18th century, an architectural movement known as Gothic Revival began in England and quickly spread throughout Europe. The Neo-Manueline, or Portuguese Final Gothic, developed under the influence of traditional Gothic architecture and the Spanish Plateresque style [10]. The Palace Hotel of Bussaco, designed by Italian architect Luigi Manini and built between 1888 and 1907, is a well-known example of Neo-Manueline architecture (Figure 2).
    [Show full text]