DOCSLIB.ORG

An Islamicate History of the Alcazar of Seville: Mudejar Architecture and Andalusi Shared Culture (1252-1369 CE)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
An Islamicate History of the Alcazar of Seville: Mudejar Architecture and Andalusi Shared Culture (1252-1369 CE) Georgia State University ScholarWorks @ Georgia State University History Dissertations Department of History Summer 8-7-2018 An Islamicate History of the Alcazar of Seville: Mudejar Architecture and Andalusi Shared Culture (1252-1369 CE) John Sullivan Follow this and additional works at: https://scholarworks.gsu.edu/history_diss Recommended Citation Sullivan, John, "An Islamicate History of the Alcazar of Seville: Mudejar Architecture and Andalusi Shared Culture (1252-1369 CE)." Dissertation, Georgia State University, 2018. https://scholarworks.gsu.edu/history_diss/67 This Dissertation is brought to you for free and open access by the Department of History at ScholarWorks @ Georgia State University. It has been accepted for inclusion in History Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. AN ISLAMICATE HISTORY OF THE ALCAZAR OF SEVILLE: MUDÉJAR ARCHITECTURE AND SHARED ANDALUSI CULTURE (1252-1369 CE) by JOHN F. SULLIVAN Under the Direction of Allen Fromherz, PhD ABSTRACT At the height of the Reconquista c. 1340 CE, Christian King Alfonso XI of Castile-León constructed a new throne room to commemorate his victory over Muslim forces from neighboring Granada and North Africa. The throne room called the Sala de la Justicia (Hall of Justice) was built almost entirely in the Mudéjar style, a style that looked Islamic in nature and included inscriptions in Arabic, several referencing the Qur’an, but predominantly intended for non-Muslims. The construction of this throne room in the Alcazar of Seville, a palace built by the Muslims and later used as the royal residence for the conquering Christians, has puzzled scholars due to its clearly Islamicate design being used in a new construction by a Christian ruler against a backdrop of the Crusades and the Reconquista in Spain. Raising further questions was the construction of the Alcazar’s Mudéjar palace by Alfonso XI’s son Pedro I between 1364- 1366 CE. This new construction mirrored designs in the neighboring Alhambra of Granada, a territory still controlled by Muslims, which even employed some of the same artisans. Attempts to interpret the Mudéjar designs utilized by Christians was further exacerbated by the same design style appearing in new buildings and additions by non-ruling Christians, Muslims, and Jews across al-Andalus, among them residential and religious buildings including churches and synagogues. This project re-examines these constructions through the lens of a cultural history reveal a shared culture and visual language that existed between the Castilian Christians, their Muslim antagonists and the minority populations of Christians, Muslims, and Jews living in al- Andalus over the course of several hundred years, reaching its apex in the thirteenth and fourteenth centuries. Participation in this shared culture by members of the three confessional communities was enabled because it existed separately from any specific political or religious affiliations which would otherwise be prohibitive. In this proposed re-interpretation, a cosmopolitan Islamicate culture coexisted among residents in al-Andalus, including ruling Christians, minority Muslim or Jewish subjects, and neighboring political and religious antagonists. Ultimately, it is this shared Islamicate culture that best explains the Christian constructions in the Alcazar of Seville. INDEX WORDS: Islamicate, Cosmopolitanism, Alcazar, Seville, Mudéjar, al-Andalus AN ISLAMICATE HISTORY OF THE ALCAZAR OF SEVILLE: MUDÉJAR ARCHITECTURE AND SHARED ANDALUSI CULTURE (1252-1369 CE) by JOHN F. SULLIVAN A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the College of Arts and Sciences Georgia State University 2018 Copyright by John Francis Sullivan 2018 AN ISLAMICATE HISTORY OF THE ALCAZAR OF SEVILLE: MUDÉJAR ARCHITECTURE AND SHARED ANDALUSI CULTURE (1252-1369 CE) by JOHN F. SULLIVAN Committee Chair: Allen Fromherz Committee: Ghulam Nadri Ian Fletcher Electronic Version Approved: Office of Graduate Studies College of Arts and Sciences Georgia State University August, 2018 iv DEDICATION To Marshall G. S. Hodgson, I couldn’t have done it without you. v ACKNOWLEDGEMENTS Many have contributed to the successful completion of this project including Allen Fromherz, whose excellent guidance and unwavering support was beyond essential. Ian Fletcher, who along with Ghulam Nadri, expended valuable time and energy to help me across the finish line, also served as an outstanding editor. Georgia State University and the GSU History department for financial support and a travel grant to complete my field research. A special thank you to Lourdes Sanchez and her father who helped get me to Tordesillas. Lou Ruprecht for introducing me to countless authors and scholars and who ultimately helped set this project in motion. And finally, my wife Marlysa whose continual support and encouragement cannot be measured, but who also allowed me to take over every room in the house for use as “offices.” vi TABLE OF CONTENTS ACKNOWLEDGEMENTS ........................................................................................................ V LIST OF FIGURES .................................................................................................................... IX 1 INTRODUCTION............................................................................................................. 1 2 COMING TO TERMS ..................................................................................................... 6 2.1 Monolithization ............................................................................................................ 6 2.2 Convivencia ................................................................................................................. 11 2.3 Islamicate .................................................................................................................... 26 2.4 Mudéjar ....................................................................................................................... 32 3 A STRANGE TRIUMPH ............................................................................................... 38 3.1 Reconquista and Crusade .......................................................................................... 42 3.2 Triumphalism and the Battle of Rio Salado (1340 CE) .......................................... 55 3.3 The Curious Case of Santa Clara de Tordesillas .................................................... 86 4 TOWARD A SHARED CULTURE .............................................................................. 90 4.1 “Mudéjar” and Mudéjarismo (Mudéjarism) ........................................................... 92 4.2 Religion, Law, and Shared Culture in al-Andalus .................................................. 98 4.3 Toledo and the Beginning of Shared Islamicate Culture ..................................... 107 4.4 Cristo de la Luz ........................................................................................................ 109 4.5 Shared Visual Language and Shared Culture ....................................................... 118 4.6 The Conquest of Seville and Alfonso X .................................................................. 127 vii 4.7 Alfonso X el Sabio: Patron of Shared Culture....................................................... 135 4.8 Islamicate Material Culture, Shared Culture, and Monolithization ................... 152 4.9 Ceramic Shared Culture.......................................................................................... 158 4.9.1 Valencia: A Corollary Context ............................................................................. 159 4.10 Other Forms of Shared Culture.............................................................................. 170 5 THE SYNOPTIC CONSTRUCTIONS....................................................................... 172 5.1 The “Default Theory” .............................................................................................. 174 5.2 The Synoptic Constructions .................................................................................... 178 5.3 The Palace at Tordesillas ......................................................................................... 182 5.3.1 The “Arab” Baths ................................................................................................. 188 5.4 El Sinagoga del Tránsito .......................................................................................... 196 5.5 On the Origins of the Alcazar of Seville ................................................................. 224 5.6 Pedro I ....................................................................................................................... 230 5.7 The Synoptic Constructions – The Alcazar and The Alhambra ......................... 234 5.7.1 Making Connections ............................................................................................ 235 5.7.2 Poly-lobed Arches ................................................................................................. 246 5.7.3 Alicatados Mosaics (dado) ................................................................................... 250 5.7.4 Girih Designs ........................................................................................................ 253 5.8 Further Connections ...............................................................................................
Load more

Recommended publications
  • MJMES Volume VIII
    Volume VIII 2005-2006 McGill Journal of Middle East Studies Revue d’études du Moyen-Orient de McGill MCGILL JOURNAL OF MIDDLE EAST STUDIES LA REVUE D’ÉTUDES DU MOYEN- ORIENT DE MCGILL A publication of the McGill Middle East Studies Students’ Association Volume VIII, 2005-2006 ISSN 1206-0712 Cover photo by Torie Partridge Copyright © 2006 by the McGill Journal of Middle East Studies A note from the editors: The Mandate of the McGill Journal of Middle East Studies is to demonstrate the dynamic variety and depth of scholarship present within the McGill student community. Staff and contributors come from both the Graduate and Undergraduate Faculties and have backgrounds ranging from Middle East and Islamic Studies to Economics and Political Science. As in previous issues, we have attempted to bring this multifaceted approach to bear on matters pertinent to the region. *** The McGill Journal of Middle East Studies is registered with the National Library of Canada (ISSN 1206-0712). We have regularized the subscription rates as follows: $15.00 Canadian per issue (subject to availability), plus $3.00 Canadian for international shipping. *** Please address all inquiries, comments, and subscription requests to: The McGill Journal of Middle East Studies c/o MESSA Stephen Leacock Building, Room 414 855 Sherbrooke Street West Montreal, Quebec H3A 2T7 Editors-in-chief Aliza Landes Ariana Markowitz Layout Editor Ariana Markowitz Financial Managers Morrissa Golden Avigail Shai Editorial Board Kristian Chartier Laura Etheredge Tamar Gefen Morrissa Golden
    [Show full text]
  • Achila, Visigothic King, 34 Acisclus, Córdoban Martyr, 158 Adams
    Index ; Achila, Visigothic king, 34 Almodóvar del Río, Spain, 123–24 Acisclus, Córdoban martyr, 158 Almonacid de la Cuba, Spain, 150. See Adams, Robert, 21 also Dams Aemilian, St., 160 Alonso de la Sierra, Juan, 97 Aerial photography, 40, 82 Amalaric, Visigothic king, 29–30, 132, Aetius, Roman general, 173–75 157 Africa, 4, 21–23; and amphorae, 116, Amber, 114 137, 187, 196; and ARS, 46, 56, 90, Ammianus Marcellinus, Roman histo- 99, 187; and Byzantine reconquest, rian, 166, 168 30; and ‹shing, 103; and olive oil, Amphorae, 43, 80, 199–200; exported 88, 188; and Roman army, 114, 127, from Spain, 44, 97–98, 113, 115–16, 166; and trade, 105, 141; and Van- 172; kilns, 61–62, 87–90, 184; from dals, 27–28, 97, 127, 174 North Africa, 129, 187. See also African Red Slip (ARS) pottery, 101, Kilns 147, 186–87, 191, 197; de‹nition, 41, Anderson, Perry, 5 43, 44, 46; and site survival, 90, Andujar, Spain, 38, 47, 63 92–95, 98–99; and trade, 105–6, 110, Annales, 8, 12, 39 114, 116, 129, 183 Annona: disruption by Vandals, 97, Agde, council of, 29, 36, 41 174; to Roman army, 44, 81, 114–17; Agglomeration, 40–42, 59, 92 to Rome, 23, 27, 44, 81, 113; under Agila, Visigothic king, 158–59. See Ostrogoths, 29, 133. See also Army also Athanagild Antioch, Syria, 126 Agrippa, Roman general, 118 Anti-Semitism, 12, 33. See also Jews Alans, 24, 26, 27, 34, 126, 175 Antonine Itinerary, 152 Alaric, Visigothic king, 2, 5, 26–27 Apuleius, Roman writer, 75–76, 122 Alaric II, Visigothic king, 29–30 Aqueducts, 119, 130, 134, 174–75 Alcalá del Río, Spain, 40, 44, 93, 123, Aquitaine, France, 2, 27, 45, 102 148 Arabs, 33–34, 132–33, 137.
    [Show full text]
  • The Tubal Figure in Early Modern Iberian Historiography, 16Th and 17Th Century
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Revistes Catalanes amb Accés Obert THE TUBAL FIGURE IN EARLY MODERN IBERIAN HISTORIOGRAPHY, 16TH AND 17TH CENTURY MATTHIAS GLOËL UNIVERSIDAD CATÓLICA DE TEMUCO CHILE Date of receipt: 16th of May, 2016 Final date of acceptance: 13th of September, 2016 ABSTRACT This study is dedicated to the use of the biblical figure Tubal in early modern Iberian chronicles. The focus will be centered on how it is used in different ways in the different kingdoms (Castile, Aragon, Catalonia, Valencia, Portugal and the Basque Provinces and Navarre) and what the authors are trying to achieve through this. Results show that while Castilian authors try to prove Spanish antiquity with the Tubal settlement, in other kingdom, especially in Catalonia, Portugal and Navarre there is a more regional use of the myth. Most of these authors try to prove that their own kingdom is the territory where Tubal settled, which would give a pre-eminence of antiquity to it in comparison to the other Iberian territories. KEYWORDS Early Modern History, Chronicles, Myths, Spanish Monarchy, Tubal. CapitaLIA VERBA Prima Historia Moderna, Chronica, Mythi, Monarchia Hispanica, Tubal. IMAGO TEMPORIS. MEDIUM AEVUM, XI (2017) 27-51 / ISSN 1888-3931 / DOI 10.21001/itma.2017.11.01 27 28 MATTHIAS GLOËL 1. Introduction Myths have always played an outstanding part in human history and they are without any doubt much older than science. This is also valid for chronicles or historiographical works. Christian historians in particular broke up the division between myth and history, which had been established by classical historiography.1 Only pagan stories remained myths, while the Bible gained the recognition of true history.2 Early Modern chronicles from the Iberian Peninsula are no exception to this phenomenon.
    [Show full text]
  • Manifiesto De La Alhambra English
    Fernando Chueca Goitia and others The Alhambra Manifesto (1953) Translated by Jacob Moore Word Count: 2,171 Source: Manifiesto de la Alhambra (Madrid, Dirección General de Arquitectura, 1953). Republished as El Manifiesto de la Alhambra: 50 años después: el monumento y la arquitectura contemporánea, ed. Ángel Isac, (Granada: Patronato de la Alhambra y Generalife, Consejería de Cultura, Junta de Andalucía : Tf Editores, 2006) 356-375. We, the signers of this Manifesto, do not want to be pure iconoclasts, for we are already too weary of such abrupt and arbitrary turns. So people will say: “Why the need for a Manifesto, a term which, almost by definition, implies a text that is dogmatic and revolutionary, one that breaks from the past, a public declaration of a new credo?” Simply put, because reality, whose unequivocal signs leave no room for doubt, is showing us that the ultimate traditionalist posture, which architecture adopted after the war of Liberation, can already no longer be sustained and its tenets are beginning to fall apart. […] Today the moment of historical resurrections has passed. There is no use denying it; just as one cannot deny the existence of the Renaissance in its time or that of the nineteenth century archaeological revivals. The arts have tired of hackneyed academic models and of cold, lifeless copies, and seek new avenues of expression that, though lacking the perfection of those that are known, are more radical and authentic. But one must also not forget that the peculiar conditions implicit in all that is Spanish require that, within the global historical movement, we move forward, we would not say with a certain prudence, but yes, adjusting realities in our own way.
    [Show full text]
  • Exile, Diplomacy and Texts: Exchanges Between Iberia and the British Isles, 1500–1767
    Exile, Diplomacy and Texts Intersections Interdisciplinary Studies in Early Modern Culture General Editor Karl A.E. Enenkel (Chair of Medieval and Neo-Latin Literature Westfälische Wilhelms-Universität Münster e-mail: kenen_01@uni_muenster.de) Editorial Board W. van Anrooij (University of Leiden) W. de Boer (Miami University) Chr. Göttler (University of Bern) J.L. de Jong (University of Groningen) W.S. Melion (Emory University) R. Seidel (Goethe University Frankfurt am Main) P.J. Smith (University of Leiden) J. Thompson (Queen’s University Belfast) A. Traninger (Freie Universität Berlin) C. Zittel (Ca’ Foscari University of Venice / University of Stuttgart) C. Zwierlein (Freie Universität Berlin) volume 74 – 2021 The titles published in this series are listed at brill.com/inte Exile, Diplomacy and Texts Exchanges between Iberia and the British Isles, 1500–1767 Edited by Ana Sáez-Hidalgo Berta Cano-Echevarría LEIDEN | BOSTON This is an open access title distributed under the terms of the CC BY-NC-ND 4.0 license, which permits any non-commercial use, distribution, and reproduction in any medium, provided no alterations are made and the original author(s) and source are credited. Further information and the complete license text can be found at https://creativecommons.org/licenses/by-nc-nd/4.0/ The terms of the CC license apply only to the original material. The use of material from other sources (indicated by a reference) such as diagrams, illustrations, photos and text samples may require further permission from the respective copyright holder. This volume has been benefited from financial support of the research project “Exilio, diplomacia y transmisión textual: Redes de intercambio entre la Península Ibérica y las Islas Británicas en la Edad Moderna,” from the Agencia Estatal de Investigación, the Spanish Research Agency (Ministerio de Economía y Competitividad).
    [Show full text]
  • Six Canonical Projects by Rem Koolhaas
    5 Six Canonical Projects by Rem Koolhaas has been part of the international avant-garde since the nineteen-seventies and has been named the Pritzker Rem Koolhaas Architecture Prize for the year 2000. This book, which builds on six canonical projects, traces the discursive practice analyse behind the design methods used by Koolhaas and his office + OMA. It uncovers recurring key themes—such as wall, void, tur montage, trajectory, infrastructure, and shape—that have tek structured this design discourse over the span of Koolhaas’s Essays on the History of Ideas oeuvre. The book moves beyond the six core pieces, as well: It explores how these identified thematic design principles archi manifest in other works by Koolhaas as both practical re- Ingrid Böck applications and further elaborations. In addition to Koolhaas’s individual genius, these textual and material layers are accounted for shaping the very context of his work’s relevance. By comparing the design principles with relevant concepts from the architectural Zeitgeist in which OMA has operated, the study moves beyond its specific subject—Rem Koolhaas—and provides novel insight into the broader history of architectural ideas. Ingrid Böck is a researcher at the Institute of Architectural Theory, Art History and Cultural Studies at the Graz Ingrid Böck University of Technology, Austria. “Despite the prominence and notoriety of Rem Koolhaas … there is not a single piece of scholarly writing coming close to the … length, to the intensity, or to the methodological rigor found in the manuscript
    [Show full text]
  • Seville Film
    SEVILLE IS CINEMA Seville is a city for recording films. Seville has been and continues to be the setting for many national and international television productions and series. We are very pleased to show you the tourist interest places of that have been the setting for these films, as well as information regarding them. How many times have you seen the Plaza de España in “Lawrence of Arabia” or in “Star Wars: Episode II”, and the Casa de Pilatos in “1492: Conquest of Paradise”? Come and visit these prominent landmarks in situ! The Real Alcázar The Real Alcázar is a monumental complex that date back to the Early Middle Ages, constituting the most important civil building in Seville. The surrounding walls, which can be admired from the Plaza del Triunfo, date from the early 10th century. The Patio del Yeso (Courtyard of the Plaster) belongs to the Almohad period between 1147 and 1237. Its ornamentation inspired later Nasrid architecture, but it was the Christian constructions that gave the complex its current appearance. The Gothic Palace, built during the reign of Alfonso X, has been modified due to the work carried out in the 16th century by the Lisbon earthquake of 1755. The most outstanding features in its rooms are the tiled plinths, the work of Cristóbal Augusta between 1577 and 1583, the set of 18th century tapestries depicting the Conquest of Tunis and the reproduction of the Virgin de La Antigua. The Courtroom, built in the middle of the 14th century during the reign of Alfonso XI, is the first example of the Mudejar style in this area, representing a perfect combination of the Islamic and Christian styles.
    [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]
  • Golden Age Spain Second Edition by Henry Kamen 
    Golden Age Spain Second edition By Henry Kamen  Chapter 2 Absolute Monarchy Was there an ‘absolute’ monarchy in Early Modern Spain? What were the ‘crown’, the ‘monarchy’ and the ‘state’? How did the crown enforce its authority? Modifying state power: provincial and urban authority. How did the crown pay its way? Was there opposition to and popular protest against the government? 1 Between 1450 and 1714 Spain underwent a more extensive political evolution than probably any other west European state of its time. In the late fifteenth century the Spanish realms (one of them Muslim) were a confused collection of jurisdictions with wholly separate identities; by the early eighteenth century there remained only one authority, the crown of ‘Spain’. Though the transformation appeared to be fundamental, it left untouched basic elements of society, culture and religion that continued to preserve their character without much change over subsequent centuries. Was there an ‘absolute’ monarchy in Early Modern Spain? Traditionally, historians pointed to the growth of royal authority as the most notable political fact, but later studies have looked more closely at what this really involved [9]. After the anarchy of the civil wars in Castile and Catalonia in the late fifteenth century, the reign of Ferdinand and Isabella (1474–1516) seemed to initiate the birth of a modern state. The rulers presided over the union of their crowns, the defeat of the Muslims of Granada, the expulsion of the Jews, the discovery of the New World, and the beginnings of Spanish power in southern Italy, the North African coast and the Atlantic (the Canary Islands).
    [Show full text]
  • The Self-Coronations of Iberian Kings: a Crooked Line
    THE SELF-Coronations OF IBERIAN KINGS: A CROOKED LINE JAUME AURELL UNIVERSIDAD DE NAVARRA SpaIN Date of receipt: 10th of March, 2012 Final date of acceptance: 4th of March, 2014 ABSTRACT This article focuses on the practice of self-coronation among medieval Iberian Castilian kings and its religious, political, and ideological implications. The article takes Alfonso XI of Castile self-coronation (1332) as a central event, and establishes a conceptual genealogy, significance, and relevance of this self-coronation, taking Visigothic, Asturian, Leonese, and Castilian chronicles as a main source, and applying political theology as a methodology. The gesture of self-coronation has an evident transgressive connotation which deserves particular attention, and could throw some light upon the traditional debate on the supposed “un-sacred” kingship of Castilian kings1. KEY WORDS Coronation, Unction, Castile, Monarchy, Political Theology. CAPITALIA VERBA Coronatio, Unctio, Castella, Monarchia, Theologia politica. IMAGO TEMPORIS. MEDIUM AEVUM, VIII (2014) 151-175. ISSN 1888-3931 151 152 JAUME AURELL 1Historians have always been fascinated by the quest for origins. Alfonso XI of Castile and Peter IV of Aragon’s peculiar and transgressive gestures of self-coronation in the fourteenth century are very familiar to us, narrated in detail as they are in their respective chronicles2. Yet, their ritual transgression makes us wonder why they acted in this way, whether there were any precedents for this particular gesture, and to what extent they were aware of the different rates at which the anointing and coronation ceremonies were introduced into their own kingdoms, in their search for justification of the self-coronation3.
    [Show full text]
  • Dietary Reconstruction of Medieval and Early Modern
    DIETARY RECONSTRUCTION OF MEDIEVAL AND EARLY MODERN SPANISH POPULATIONS USING STABLE ISOTOPES OF CARBON AND NITROGEN ____________ A Thesis Presented to the Faculty of California State University, Chico ____________ In Partial Fulfillment of the Requirements for the Degree Master of Arts in Anthropology ____________ by © Amy T. MacKinnon 2015 Spring 2015 DIETARY RECONSTRUCTION OF MEDIEVAL AND EARLY MODERN SPANISH POPULATIONS USING STABLE ISOTOPES OF CARBON AND NITROGEN A Thesis by Amy T. MacKinnon Spring 2015 APPROVED BY THE DEAN OF GRADUATE STUDIES AND VICE PROVOST FOR RESEARCH: _________________________________ Eun K. Park, Ph.D. APPROVED BY THE GRADUATE ADVISORY COMMITTEE: ______________________________ _________________________________ Guy Q. King, Ph.D. Eric J. Bartelink, Ph.D., Chair Graduate Coordinator _________________________________ Georgia L. Fox, Ph.D. PUBLICATION RIGHTS No portion of this thesis may be reprinted or reproduced in any manner unacceptable to the usual copyright restrictions without the written permission of the author. iii DEDICATION This thesis is dedicated to the memory of my grandparents Ermineo Claude Paul Seita April 21, 1921 – February 11, 2015 and Velma Watson Seita January 28, 1923 – March 12, 2015 “Chi tard’arriva mal’alloggia” iv ACKNOWLEDGMENTS I would like to acknowledge with gratitude my thesis committee Dr. Eric Bartelink and Dr. Georgia Fox. Thank you for your support, enthusiasm, and encouragement. I would like to thank Dr. Bartelink especially for introducing me to this project and for training me in the techniques of preparing samples for stable isotope analysis. I would also like to thank Dr. Nicholas V. Passalacqua (Defense POW/MIA Accounting Command) who had the foresight to sample the collection for stable isotope analysis.
    [Show full text]
  • La Alhambra in Granada, One of the Most Beautiful and Admired Monuments in the Wold
    La Alhambra in Granada, one of the most beautiful and admired monuments in the wold. An old legend says that the Alhambra was built by night, in the light of torches. Its reddish dawn did believe the people of Grenada that the color was like the strength of the blood. The Alhambra, a monument of Granada for Spain and the world. La Alhambra was so called because of its reddish walls (in Arabic, («qa'lat al-Hamra'» means Red Castle ). It is located on top of the hill al-Sabika, on the left bank of the river Darro, to the west of the city of Granada and in front of the neighbourhoods of the Albaicin and of the Alcazaba. The Alhambra is one of the most serenely sensual and beautiful buildings in the world, a place where Moorish art and architecture reached their pinnacle. A masterpiece for you to admire, and it is in Granada, a city full of culture and history. Experience the beauty and admire this marvel of our architectural heritage. Let it touch your heart. Granada is the Alhambra and the gardens, the Cathedral, the Royal Chapel, convents and monasteries, the old islamic district Albayzin where the sunset is famous in the world or the Sacromonte where the gypsies perform flamenco shows in the caves where they used to live...Granada is this and many more things. The Alhambra is located on a strategic point in Granada city, with a view over the whole city and the meadow ( la Vega ), and this fact leads to believe that other buildings were already on that site before the Muslims arrived.
    [Show full text]