Monitoring of Long-Term Damage in Gothic Cathedrals
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TECNOLOGÍA NAVARRA DE NANOPRODUCTOS S.L. (TECNAN) THINK BIG, ACT NANO! REFERENCES RESTORATION AND CONSERVATION OF HERITAGE BUILDINGS TECNADIS PRODUCTS - REMARKABLE WORKS Metropolitan Cathedral Seville Cathedral Oviedo Cathedral (Panama City) (Sevilla - Spain) (Asturias - Spain) Mosque-Cathedral of Cordoba La Almudena Cathedral Tui Cathedral Santander Cathedral (Córdoba - Spain) (Madrid - Spain) (Pontevedra - Spain) (Cantabria - Spain) Tarazona Cathedral Burgo de Osma Cathedral Pamplona Cathedral Segovia Cathedral (Zaragoza - Spain) (Soria - Spain) (Navarra - Spain) (Segovia - Spain) TECNADIS PRODUCTS - REMARKABLE WORKS Cologne Cathedral Pisa Cathedral Saint Bavon Cathedral Saint Esteban Cathedral (Italy) (Germany) (Ghent - Belgium) (Wien - Austria) (Bélgica) São João National Theatre Santo Domingo de la Calzada Cathedral Casa Milá – La Pedrera Viana Do Castelo Cathedral (Porto-Portugal) (La Rioja - Spain) (Barcelona - Spain) (Portugal) Buen Pastor Cathedral The Real Alcazar Casa Batlló Valencia Cathedral Museum (San Sebastián - Spain) (Sevilla - Spain) (Barcelona - Spain) (Valencia - Spain) TECNADIS PRODUCTS - REMARKABLE WORKS Bank of Spain Headquarters Santander Bank Headquarters National Library Parador of Leon (Madrid-Spain) (Santander - Spain) (Madrid - Spain) (León - Spain) ) Bank of Spain Building Spain Square Canalejas Complex Prado Museum (Málaga - Spain) (Sevilla - Spain) (Madrid - Spain) (Madrid - Spain) Royal Pavilion - Mª Luisa Park The old Seville Artillery Factory Astorga Episcopal Palace Catalunya Caixa Bank Headquarters -
Heritage of Religion, Beliefs and Spirituality Patrimoine De La Religion, Des Croyances Et De La Spiritualité
Heritage of religion, beliefs and spirituality Patrimoine de la religion, des croyances et de la spiritualité A bibliography Une bibliographie By ICOMOS Documenta on Centre - October 2014 Par le Centre de Documenta on ICOMOS - Octobre 2014 Updated and edited by Valéria De Almeida Gomes, intern at ICOMOS Documentation Centre, and Lucile Smirnov. This bibliography refers to documents and materials available at ICOMOS Documentation Centre. It does not intend to be a comprehensive list of scientific literature on religions cultural heritage. Any reference can be consulted or scanned, subject to the limits of copyright legislation. Actualisé et mis en page par Valéria De Almeida Gomes et Lucile Smirnov. Cette bibliographie fait référence à des documents et ouvrages disponibles au Centre de documentation de l’ICOMOS. Elle ne prétend pas constituer une bibliographie exhaustive de la littérature scientifique sur e patrimoine culturel des religions. Toutes ces références peuvent être consultées ou scannées dans la limite de la loi sur le copyright. Contact ICOMOS Documentation Centre / Centre de Documentation ICOMOS http://www.icomos.org/en/documentation-center [email protected] © ICOMOS Documentation Centre, October 2014. ICOMOS - International Council on Monuments and sites Conseil International des Monuments et des Sites 11 rue du Séminaire de Conflans 94 220 Charenton-le-Pont France Tel. + 33 (0) 1 41 94 17 59 http://www.icomos.org Cover photographs: Photos de couverture : Hagia Sophia, Istanbul © David Spencer / Flickr; Borobudur near Yogyakarta. ©: Paul Arps/Flickr; Old Jewish Cemetery (Starý židovský hrbitov), Prague (Prag/Praha) © Ulf Liljankoski / Flickr Index Polytheism and early cults ......................................................... 2 African syncretism and traditional religions ................................. -
Studies on the Structure of Gothic Cathedrals
Historical Constructions, P.B. Lourenço, P. Roca (Eds.), Guimarães, 2001 71 Studies on the structure of Gothic Cathedrals Pere Roca Universitat Politècnica de Catalunya, Department of Construction Engineering, Barcelona, Spain ABSTRACT: The study of three Gothic Cathedrals is presented with a discussion on the results obtained with regard to their structural features and present condition. The paper focuses on the significant difficulties that the analysts may encounter in the attempt of evaluating historical structures. These difficulties stem from the importance of historical facts (historical genesis, construction process, and possible natural or anthropic actions affecting the construction throughout its life time) and the need to integrate them in the analysis. The case studies of Tarazona, Barcelona and Mallorca Cathedrals are presented. Particular attention is given to Mallorca Cathedral because of the uniqueness and audacity of its structural design and because of the challenges that the analyst must face to conclude about its actual condition and long-tem stability. 1 CONSIDERATIONS ON THE ANALYSIS OF ANCIENT CONSTRUCTIONS One of the main elements of the European architectural heritage is found in the significant number of Gothic churches and cathedrals built during the last period of the Middle Age. Preserving these constructions requires a certain understanding of their structural features and stability condition; this, in turn, requires a certain knowledge of their material, construction and resisting nature. However, the attempt to understand a complex ancient construction, such as a Gothic cathedral, based on modern techniques and concepts, encounters important difficulties stemming from both practical and theoretical causes. Among the difficulties of practical character is the virtual impossibility of obtaining a detailed knowledge of the properties of the materials, construction details and internal composition. -
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. -
Infunde Amorem Cordibus: an Early 16Th-Century Polyphonic Hymn Cycle from Seville
Juan Ruiz Jime´nez Infunde amorem cordibus: an early 16th-century polyphonic hymn cycle from Seville he manuscript Tarazona Cathedral 2–3 has from 1482 and chapelmaster from 1491, a position Treceived a good deal of attention from eminent he held until 1497. His name reappears in docu- scholars over the last half century. While they have ments from 1503 until his death in September 1504. differed in their findings as to its dating and proven- The identification of Pedro de Porto and Pedro de ance, they have been unanimous in concluding that Escobar remains to be clarified, but only the name it is the most important surviving source for sacred Escobar appears in Seville during the time he music from the time of the Catholic Monarchs, was chapelmaster there (1507–14), and this was 1 7 Ferdinand and Isabella. I have studied the dating how he signed his name ( illus.1). The third and of the manuscript elsewhere, and proposed a Sevil- most prominent composer in Tarazona Cathedral 2 lian origin for it, but here I shall concentrate on 2–3, as well as in the hymn cycle, is Francisco de one important aspect: the cycle of polyphonic Pen˜alosa. hymn settings included in it (see table 1). Indeed, My recent research in the cathedral archives has it was this cycle that first drew attention to the shown that Pen˜alosa was present in Seville more manuscript through the study and edition by often than has been thought, since he was obliged 3 Rudolf Gerber. The Tarazona cycle has since been to reside there in order to obtain the income from studied in the broader context of the hymn cycle the benefices he held at the cathedral. -
Unedited Motets by a Little Known Composer: Alonso Ordóñez Cristina Diego Pacheco
Unedited Motets by a Little Known Composer: Alonso Ordóñez Cristina Diego Pacheco To cite this version: Cristina Diego Pacheco. Unedited Motets by a Little Known Composer: Alonso Ordóñez. Tess Knighton; Bernadette Nelson. Pure Gold: Golden Age Sacred Music in the Iberian World. A Homage to Bruno Turner, 15, Reichenberger, pp.327-343, 2011, DeMusica, 978-3-937734-88-0. hal-01215243 HAL Id: hal-01215243 https://hal.archives-ouvertes.fr/hal-01215243 Submitted on 12 Nov 2015 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. UNEDITED MOTETS BY A LITTLE KNOWN COMPOSER: ALONSO ORDÓÑEZ Cristina Diego Pacheco Many Iberian composers of the Renaissance remain to be rediscovered and studied: bringing them out of the obscurity of anonymity has been a task for scholar and performers, motivated by an almost quixotic spirit, over many years. At the forefront of this quixotic endeavour has been Bruno Turner whose pioneering work as editor and conductor has long been dedicated to bringing to light little known composers of the Spanish Renaissance. My own contribution to this volume follows in Bruno’s footsteps and directs the spotlight on one of the many composers who marked Spain out musically in the sixteenth century: Alonso Ordóñez.1 A biographical sketch of Alonso Ordóñez The only details of Ordóñez’s life currently in the scholarly domain are summarized in José López-Calo’s entry for the Diccionario de la Música Española e Hispanoamericana,2 and these will shortly be expanded by Juan Ruiz Jiménez3. -
Via De La Plata
Spain Spain Gothic Art Gothic Art EUROPEAN COMMUNITY European Regional Development Fund I TABLE OF CONTENTS SPANISH TOURIST INFORMATION UNITED STATES OF AMERICA Introduction 1 OFFICES ABROAD Los Angeles Tourist Office of Spain Gothic Art 2 CANADA. Toronto The three great cathedrals 8 8383 Wilshire Blvd, Suite 960 Tourist Office of Spain Beverly Hills, California 90211 A Tour 2 Bloor Street West Suite 3402 % 1(323) 658 71 88 Andalusia 14 Toronto, Ontario M4W 3E2 ) 1(323) 658 10 61 Aragon 20 % (1416) 961 31 31 www.okspain.org Asturias 24 ) Ireland (1416) 961 19 92 e-mail: [email protected] The Balearic Isles 26 United www.tourspain.toronto.on.ca Chicago The Canary Islands 27 Dublin e-mail: [email protected] Cantabria 28 Kingdom Tourist Office of Spain Castile-La Mancha 30 GREAT BRITAIN. London Water Tower Place, suite 915 East Castile and León 35 London Spanish Tourist Office 845 North Michigan Avenue Catalonia 45 PO BOX 4009 Chicago, Illinois 60 611 Murcian Region 49 London W1A 6NB % 1(312) 642 19 92 Valencian Region 50 % (44207) 486 80 77 ) 1(312) 642 98 17 Extremadura 53 Paris ) (44207) 486 80 34 www.okspain.org Galicia 56 www.tourspain.co.uk e-mail: [email protected] La Rioja 60 e-mail: [email protected] Miami Madrid 62 France Tourist Office of Spain Navarre 64 JAPAN. Tokyo 1221 Brickell Avenue Basque Country66Bay of Biscay Tourist Office of Spain Miami, Florida 33131 Daini Toranomon Denki % Glossary 70 1(305) 358 19 92 Bldg.6F. 3-1-10 ) 1(305) 358 82 23 General information 72 Toranomon. -
What Did the Composer Antonio De Ribera Learn from Alonso Pérez De Alba at Seville Cathedral? a New Look at Ribera’S Missa Sine Nomine and Devotional Motets
nova série | new series 6/1 (2019), pp. 29-62 ISSN 2183-8410 http://rpm-ns.pt What Did the Composer Antonio de Ribera Learn from Alonso Pérez de Alba at Seville Cathedral? A New Look at Ribera’s Missa Sine Nomine and Devotional Motets Esperanza Rodríguez-García CESEM Faculdade de Ciências Sociais e Humanas Universidade NOVA de Lisboa [email protected] Resumo Este artigo analisa a obra sacra de Antonio de Ribera (m. 1527?) e a sua relação com a música de Alonso Pérez de Alba (m. 1504). Os dois compositores cruzaram os seus percursos na Catedral de Sevilha. Alba integrou a Catedral como cantor em 1482 e, mais tarde, tornou-se mestre de capela e mestre do coro, até à sua saída em 1497; e há registos de Ribera como jovem cantor da catedral entre 1496-8. A escassez de documentação dificulta a percepção sobre a real natureza da relação entre ambos. Contudo, tendo em conta que a carreira de Alba estaria numa fase mais avançada quando se conheceram, é seguro presumir que este terá influenciado Ribera. A análise da música sacra preservada da autoria de Ribera (a Missa sine nomine e dois motetes devocionais) valida esta hipótese. O estilo dos dois compositores é consideravelmente semelhante no que se refere à linguagem de contraponto e aos detalhes de composição. Contudo, o tamanho limitado da amostra e a funcionalidade específica destas peças impede-nos de determinar até que ponto as semelhanças resultam da influência directa de Alba ou da tradição musical da Catedral de Sevilha. Para contextualizar a análise musical, este artigo revê numa perspectiva historiográfica a biografia de Ribera e as diversas atribuições (e falsas atribuições) das suas peças, no sentido de clarificar também alguns casos em que música será provavelmente da autoria do compositor mais tardio, Bernardino de Ribera. -
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]. -
143A a Rirar C·Onvido El Amor (Juan
Index A lo guerra del cielo (Cristóbal Ga Amar sin conocer (Barbieri), 140b Balakirev, M. A., l 17b, l 19a, 120a, lán), 143a Anchicta, Juan de (1462- 1523), 6a, 121b, 122b, 123a, 124b, 125b, A rirar c·onvido el amor (Juan 8a, 9b, 13ab, 16b, 150b- 151a 126a, l 32ab Durango), l 43a Anes, Rodrigo, Oporto chantre Baldino, Justo, bishop of Ceuta, 5b Abraham. Gcrald, mistakes made (1329), 4b Barahona Vega, Clemente, l !Ob by, 117b, 125b Anglés, Higinio, 3b, 13ab Barbacci, Rodolfo, 88b, 92b, 93b, Academia Granados (Barcelona), Annapolis, Rimski-Korsakov at, 94b, !Olb 143b 127ab Barbieri, Francisco Asen jo, 6a, 9b, Accademia Filarmonica (Bologna), Annes, Joao, Oporto canon (1491), IOa, 139a- 141b, 151b Martines elected to, 27b 5b Barbosa, Ayres, classicist, 1la , Affonso (1509- 1540), cardinal, !Ob, Arabia, Pedro de, 46a 139b ! la Aracena Infanta, Aníbal, 90b Barbosa Machado, Diogo, 9b, IOa, Affonso V (1438- 1481), monarch, Aragonese royal chapel (Naples), 139b 5b, 8b members of, 148b--150a Barcelona, city trumpeter at (15th Agricola, Alcxander, 15la Aranda, Matheo de, 9a century), l 46a Águilar, Mariana (mother of Manuel Argote, Joaquín J., 87a Barnum, P. T., 120b, 121b del Pópulo García), 45b-46a Arredondo, Elvira, 92b Barreiros, Martim Vicente, 5a Aguirre y Loizaga, Josef de (father Arrieta Cañas, Luis, 89a Barriga, Juan Agustín, 90ab, 99b of José Morales), 47b-48a Arricta, Emilio, 140a Barriga, Pilar, 98b Alard, Dclphine, 89a, 91a Arteaga y Pereira, G., l 13a Barros, Joao de, 9b Alba, Antonio (fT 1896), 96a Artót, Alexandre, 92a Banholf Scnff, publisher, 108b Albéniz: Isaac, 113a- 1 l 5b; Laura, Arturo Napoleao & Miguéz, pub Barwick, Steven, 137a 113a lishers, 102a Bastos, Teresina, 104b Albero, Sebastián, 146a Asedio de Medina, 51h Beethoven, 93ab, 94b, IOlb Alexander VI, pope, 6b Asenjo Barbieri, Francisco, see Bar- Bcll, Aubrey F. -
THE OPHICLEIDE in SPAIN, with an APPENDIX on SOME 19Th-CENTURY BRASS TUTORS in SPAIN
142 HISTORIC BRASS SOCIETY JOURNAL THE OPHICLEIDE IN SPAIN, WITH AN APPENDIX ON SOME 19th-CENTURY BRASS TUTORS IN SPAIN B. Kenyon de Pascual he French word ophicléide is guaranteed to cause the avaverageerage SSpaniardpaniard prproblemsoblems of pronunciation and spelling. One early form of the word used shortly after the T instrument fi rst appeared in Spain was ofi xlier. The name was fi nally hispanicized to ofi gle, more frequently apocopated to fi gle, the name by which it is now known. According to a Spanish music dictionary published in 1859,1 the ophicleide (fi gli) was introduced to Spain in 1828. Since another 19th-century author stated that the valved cornet was fi rst brought to Spain from Paris by Pedro Broca for the royal bodyguard, Broca may also have been responsible for bringing the ophicleide to Madrid.2 A print by Buonaventura Planella (Biblioteca Nacional, Madrid) of a gala procession (máscara) held in Barcelona on January 6, 1828, however, shows a small band headed by what look like an ophicleide and a buccin. The earliest contemporary record of its use in Spain known to the author is to be found in a Royal Chapel document dated 28 December 1830, in which the ecclesiastical head of the chapel informed the chapelmaster that the king approved the engagement of two musicians not attached to the chapel—a second bassoon and an ofi xlier—for the funeral service for the King of Naples.3 A plan for the placing of the Royal Chapel instrumentalists during a memorial service for the Spanish King Fernando VII held in 1834 shows that on that occasion the back row of the orchestra consisted of two clarinets, two ofi gles, the timpani, two buccins, two French horns, and two trumpets.4 Another early piece of evidence is a MS copy, partly translated into Spanish, of excerpts from Part VI of A. -
Zaragoza / the Crossroads
ENGLISH ZARAGOZA / THE CROSSROADS CHOOSE YOUR PATH. ITS PIVOTAL LOCATION HAS SEEN THE PROVINCE OF ZARAGOZA SHINE WITH THE LIGHT OF VARIOUS DIFFEERENT CULTURES THROUGHOUT THE COURSE OF ITS HISTORY. Cover: photograph by Jiuguang Wang (7th in the Wiki Loves Monuments Competition 2012) available under license CC-BY-SA 3.0 Loves (7th in the Wiki by Jiuguang Wang photograph Cover: /2 CHOOSE YOUR PATH. THE PROVINCE OF ZARAGOZA IS A GROUP OF TERRITORIES WHOSE PRIVILEGED LOCATION HAS ENABLED THEM TO LEARN AND BENEFIT FROM ALL THEIR CULTURES. SNAKING THROUGH LAND WHICH CHANGES SKIN FROM WOODED MOUNTAINS TO DESERTED STEPPE, FROM UPLANDS TO VALLEYS, THE RIVER EBRO IS THE BACKBONE OF THE PROVINCE OF ZARAGOZA. Choose/ ZARAGOZA your path THE CROSSROADS This river has watched various different cultures come and go, leaving their enduring legacy of historical monuments. The idea of a historical crossroads is what best defines these lands, which link Spain with Europe and the Mediterranean with the Cantabrian. Zaragoza, the crossroads. Successive civilisations have shaped the character of its inhabitants as friendly, charming and open. < La Aljafería. Interior of La Seo. La Sierra del Moncayo. Statue of Caesar Augustus, founder of the city of Zaragoza. Entranceway of Santa María in Uncastillo. /3 /3 FROM UPLANDS TO VALLEYS, THE RIVER EBRO IS THE “ BACKBONE OF THE PROVINCE OF ZARAGOZA. THIS RIVER HAS WATCHED VARIOUS“ DIFFERENT CULTURES COME AND GO, LEAVING THEIR ENDURING LEGACY OF HISTORICAL MONUMENTS. MUST-SEES This icon indicates tourist attractions of outstanding beauty or interest, which should not be missed. TO BE DISCOVERED This icon indicates less well-known tourist attractions which are equally interesting.