DOCSLIB.ORG

Mudéjar Architecture and Its Historiography in Spain A

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

IDIOSYNCRATIC NARRATIVES: MUDÉJAR ARCHITECTURE AND ITS HISTORIOGRAPHY IN SPAIN A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF SOCIAL SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY MELTEM ÖZKAN ALTINÖZ IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE DEPARTMENT OF HISTORY OF ARCHITECTURE APRIL 2013 Approval of the Graduate School of Social Sciences Prof. Dr. Meliha Altunışık Director I certify that this thesis satisfies all the requirements as a thesis for the degree of Doctor of Philosophy. Prof.Dr. A.Güven Sargın Head of Department This is to certify that we have read this thesis and that in our opinion it is fully adequate, in scope and quality, as a thesis for the degree Doctor of Philosophy. Prof. Dr. Ali Uzay Peker Supervisor Examining Committee Members Prof. Dr. Ömür Bakırer (METU, RES) Prof. Dr. Ali Uzay Peker (METU, AH) Prof. Dr. M. Necati Kutlu (A.U, DTCF) Assoc. Prof. Dr. Z. Kenan Bilici (A.U, DTCF) Assist. Prof. Dr. Aylin Topal (ADM, METU) I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name, Last name : Meltem Özkan Altınöz Signature : iii ABSTRACT IDIOSYNCRATIC NARRATIVES: MUDÉJAR ARCHITECTURE AND ITS HISTORIOGRAPHY IN SPAIN Özkan Altınöz, Meltem Ph.D., Department of History of Architecture Supervisor: Prof. Dr. Ali Uzay Peker April 2013, 391 pages The Iberian Peninsula has witnessed the emergence of an architectural style called Mudéjar, whose origin and practice is still subject to discussion. It appeared in the 11th century after the Christian Reconquista - reconquest (conquest over Muslims) in the Iberian Peninsula by the Catholic Kingdoms. Yet, as far back as the 8th century Islamic, Christian and Jewish tastes intermingled in the same location to influence what was to become known as the Mudéjar artistic style. The studies that define Mudéjar origins and character were mostly conducted by Spanish scholars. While a group of these scholars explain that Mudéjar origins have Islamic roots, another emphasizes its Christian aspects. However, recent researches have altered former classifications concentrating on geographical facts in addition to cultural varieties. With these enhancements of our knowledge, it is necessary to review the accumulation of earlier works on architectural history on Mudéjar to the 20th century. An evaluation will help us to identify the obscurities associated with Mudéjar and clarify the conceptual and terminological tools in histories related to it. The main focus of the dissertation is to investigate Mudéjar in Spanish architectural historiography. How this particular writing of history interacted with the political agenda and who actively shaped its discourse, are the topics that merit the subdivisions to make them clear. Using versatile methodologies, the study unearths the character of Spanish architectural historiography, which has occasionally confused Mudéjar identity or produced different narratives to account for Mudéjar existence. From the analytical investigation of the publications, a number of graphic illustrations are produced. These graphic illustrations and the analyses of survey books demonstrate that Mudéjar studies have a mainly regional character and were mostly undertaken by Spanish scholars until the 21th century. These works demonstrate a strong Hispanic and Spanishness condition, iv yet they also produced anachronisms in Spanish art and architectural history. Consequently, this thesis reveals the fact that there are a great number of publications that construct or reconstruct Hispanidad, Coexistence (Convivencia), Spanishness, and Iberianness notions, which by and large reveal idiosyncratic narratives with their Mudéjar formulations. Key Words. Iberian Peninsula, Mudéjar, Historiography, Hispanidad, Convivencia v ÖZ KENDİNE ÖZGÜ ANLATILAR: İSPANYA'DA MUDÉJAR (MÜDECCEN) MİMARİSİ VE TARİH YAZIMI Özkan Altınöz, Meltem Doktora, Mimarlık Tarihi Anabilim Dalı Tez Yöneticisi: Prof. Dr. Ali Uzay Peker Nisan 2013, 391 sayfa Kaynağı ve kullanımı günümüzde tartışılmaya devam edilen Müdeccen/Mudéjar üslubu, 11.Yüzyıl itibariyle Katolik krallıklarının İberya Yarımadası’ndaki Müslümanları yarımadadan atmaya yönelik yeniden fetih hareketleri ile başlar. Katolik krallıklar tarafından Müslümanların elinden alınan topraklarda bir müddet farklı inanç geleneklerine sahip toplumlar bir arada yaşarlar. Bir arada bulunmanın neticesi olarak bu topraklarda 8.yy’dan itibaren yeşermiş İslamî, Hıristiyan ve Yahudi sanat gelenekleri Mudéjar mimari üslubunun oluşumuna katkıda bulunur. Mudejar’ın kaynaklarını ve özelliklerini tanımlayan çalışmalar çoğunlukla İspanyol akademisyenler tarafından gerçekleştirilmiştir. Akademisyenler arasında bir grup Mudéjar’ın İslami köklerinden bahsederken, bir diğer grubun ilgili sanatın Hıristiyan özelliklerini vurguladığı görülmektedir. Ancak yakın dönemde yapılan çalışmalar bu erken dönem sınıflandırmalarını değiştirerek coğrafi ve kültürel çeşitlilik konularına eğilmektedir. Mudéjar üzerine yapılan bu yeni çalışmalarla birlikte Mudéjar bilgisi olgunlaşmış ve Mudéjarın ne olup olmadığı sorunsalı yerine, artık 20.yy’a kadar gerçekleştirilen Mudéjar tarih yazımının irdelenmesi kaçınılmaz bir hal almıştır. Söz konusu tarih yazınının incelemesi aynı zamanda Mudéjar kavramının çevresindeki belirsiz atmosferin ve bu atmosferi ortaya çıkartan koşulların tarihsel ve bu bağlamdan beslenen terminolojik alt yapısının deşifresine yardımcı olacaktır. Çalışmanın ana eksenini oluşturması nedeniyle bu tez İspanyol mimarlık tarihi yazımında Mudéjarın yerini sorgulamaktadır. İlgili tarih yazımının politik gündemle olan etkileşimi ve bu etkileşim sahasında yön verici kimlikler incelenmektedir. Çalışma İspanyol mimarlık tarihi yazımının Mudéjarı muğlak bırakan veya zaman zaman yok sayan tavrını çok yönlü metodolojik yaklaşımlarla ortaya çıkartmıştır. Yayınların analitik incelemelerinden elde edilen grafik illüstrasyonlar ve referans kaynaklarının değerlendirilmesi mudejar çalışmalarının bölgesel bir karakter taşımakla birlikte genel olarak 21.yy’a kadar İspanyol vi akademisyenler tarafından sürdürüldüğünü göstermektedir. Bu çalışmalar baskın İspanyalılık (İspanyol) ve Hispanikliğin yeniden inşası durumunu açığa çıkartmakla birlikte aynı zamanda İspanyol sanat ve mimarlık tarihinin anakronik yaklaşımlarını sergilemektedirler. Sonuç olarak, bu tez İspanyol sanat ve mimarlık tarihine yön veren Hispanik, Biraradalık (Convivencia/Coexistence), İspanyalılık ve İberyalılık söylemlerini deşifre etmekte, söz konusu tarih yazımı örneklerinin Mudéjar formülasyonlarını çoğunlukla İspanyol kimliğinin oluşmasında karakteristik (idiyosenkritik) bir anlatının parçaları olarak değerlendirmektedir. Anahtar Kelimeler. İberya Yarımadası, Müdeccen, Tarih Yazımı, Hispaniklik, Bir Aradalık vii To My Family viii ACKNOWLEDGMENTS When the Spanish re-conquest ideology and their colonization process in the American Continent first took my attention, Dr. Erginer was giving a lecture about Quetzalcoatl, the Aztec culture and their collapse by the Spaniards, and I was an Art History student in the undergraduate program at Ankara University in one of the Ethnology classes. I felt a strong pull toward the subject and I decided to learn more about this cultural exchange. No doubt, it would be a broad study requiring serious involvement and scholarly discipline; therefore, I continued my master's studies at Middle East Technical University which contributed a lot to my interest on art and architectural history. Under the advisory of Dr. Peker, whose academic perspective is wide-ranging, I obtained the chance to develop my inquiry. In this process, Aesthetic Research Center of Universidad Nacional Autónoma de Mexicó, in the center of which I spent some time doing research, facilitated my research period. The study was granted a scholarship by the Ministry of Foreign Affairs of the United Mexican States. During the research period I started to become more aware of the existence of the Islamic architectural taste and decorative elements in Mexicó. It was also for the first time I found out about the Mudéjar terminology in Mexico when I started to wonder its origin in the Iberian Peninsula which had passed through colonialism. After completing the master degree, my interest on Islamic Architecture in Spain led me to actualize my first travel to the Andalusian part of Spain, and this interest would be influential while selecting the study theme as Mudéjar Architecture in Spain. Sometimes, I fell into the traps just like most PhD candidates do during their studies such as moving after different topics. However, fortunately, Dr. Peker reminded me of the PhD route all the time. While studying on my dissertation, I was granted by a scholarship and as an Erasmus doctorate student, and I studied at the Art History department of the Universidad Nacional Autónoma de Madrid. The five-month study there brought me not only several study and research experiences but also a chance to widen my knowledge about the subject. My third academic visit to Spain aimed at only conducting a research in distinct libraries. This research was much more focused and prolific. My last visit, which included Madrid, Zaragoza and Teruel, aimed at smelling the atmosphere of Mudéjar towns particularly Zaragoza and Teruel. Consequently, these four visits to Spain
Recommended publications
  • Spain-Granada-Alhambra-Preview

    Spain-Granada-Alhambra-Preview

    PREVIEWCOPY Introduction Previewing this book? Please check out our enhanced preview, which offers a deeper look at this guidebook. Travel guidebooks for the ultra curious, Approach Guides reveal a destination’s essence by explor- ing a compelling aspect of its cultural heritage: art, architecture, history, food, or wine. The Alhambra — a magnificent 14th century palace-city built by the Nasrids in the city of Granada — stands as one of the greatest monuments of Islamic Spain, or Al-Andalus. Using elaborate mosaic decoration that creates the impression of infinity, inscriptions that tell of the greatness of God, and walled gardens that symbolize Quranic paradise, the Nasrids realized a divine vision on earth. It is yours to discover. What’s in this guidebook • Comprehensive look at the Alhambra’s art and architecture. We examine the defin- ing characteristics of the Nasrid style, isolating key features and concepts that you will see again and again as you make your way through the Alhambra; we tell you what makes them unique and what they symbolize. To make things come alive, we have packed our descrip- tions with high-resolution images. • A tour that goes deeper on the most important sites. Following our tradition of being the most valuable resource for culture-focused travelers, we provide a unique, detailed tour of the Alhambra’s premier sites, with a special focus on the Nasrid palaces. For each site, we provide information on its history, a detailed plan that highlights its most important archi- tectural and artistic features, high-resolution images, and a discussion that ties it all togeth- er.
  • From Azulejos to Zaguanes: the Islamic Legacy in the Built

    From Azulejos to Zaguanes: the Islamic Legacy in the Built

    From Azulejos to Zagutmes: The Islamic Legacy in the Built Environment of Hispano-America R. Brooks Jeffery They lack our faith, but we lack their works. - Cardinal Ximenez de Cisneros Prior to the Spanish colonization of the Americas, beginning at the end of the fifteenth century, Spain was completing the final chapters of the Reconquest of the Iberian Peninsula after eight centuries of Islamic rule and cultural dominance. Although often ignored in the histories of the Spanish colonial period, people of Muslim descent traveled to Hispano- America1 during its initial colonization. Evidence of this cultural assim- ilation can be seen in the profound legacy of Islamic architectural characteristics in the Hispano-American built environment that is still evident today. This paper attempts to recognize this Islamic legacy through an analysis of three levels of the Hispano-American built envi- ronment: ornamentation, architectural form, and open space. Historical Background Beginning in 711, a succession of Islamic dynasties ruled the Iberian Peninsula, including the Umayyads (711-750), Abbasids (750-1082), Almoravids (1082-1147), Almohads (1147-1184), and the Nasrids (1184-1492), producing many of Islamic architecture's finest monu- ments: the Great Mosque of Cordoba (786-991), the rural palatial complex of Medinat az-Zahra (936), and the Alhambra (1238-1492). Not long after the Islamic Empire reached its northernmost expansion at the Pyrenees Mountains of Spain in the eighth century, Christian R. Brooks Jeffrey earned Bachelor of Architecture and Master of Library Science degrees from the University of Arizona. He is the coordinator of the Preservation Studies Program in the College of Architecture and Landscape Architecture, University of Arizona.
  • Barcelona and the Paradox of the Baroque by Jorge Luis Marzo1

    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.
  • Thesis Final Copy V11

    Thesis Final Copy V11

    “VIENS A LA MAISON" MOROCCAN HOSPITALITY, A CONTEMPORARY VIEW by Anita Schwartz A Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts & Letters in Partial Fulfillment of the Requirements for the Degree of Master of Art in Teaching Art Florida Atlantic University Boca Raton, Florida May 2011 "VIENS A LA MAlSO " MOROCCAN HOSPITALITY, A CONTEMPORARY VIEW by Anita Schwartz This thesis was prepared under the direction of the candidate's thesis advisor, Angela Dieosola, Department of Visual Arts and Art History, and has been approved by the members of her supervisory committee. It was submitted to the faculty ofthc Dorothy F. Schmidt College of Arts and Letters and was accepted in partial fulfillment of the requirements for the degree ofMaster ofArts in Teaching Art. SUPERVISORY COMMIITEE: • ~~ Angela Dicosola, M.F.A. Thesis Advisor 13nw..Le~ Bonnie Seeman, M.F.A. !lu.oa.twJ4..,;" ffi.wrv Susannah Louise Brown, Ph.D. Linda Johnson, M.F.A. Chair, Department of Visual Arts and Art History .-dJh; -ZLQ_~ Manjunath Pendakur, Ph.D. Dean, Dorothy F. Schmidt College ofArts & Letters 4"jz.v" 'ZP// Date Dean. Graduate Collcj;Ze ii ACKNOWLEDGEMENTS I would like to thank the members of my committee, Professor John McCoy, Dr. Susannah Louise Brown, Professor Bonnie Seeman, and a special thanks to my committee chair, Professor Angela Dicosola. Your tireless support and wise counsel was invaluable in the realization of this thesis documentation. Thank you for your guidance, inspiration, motivation, support, and friendship throughout this process. To Karen Feller, Dr. Stephen E. Thompson, Helena Levine and my colleagues at Donna Klein Jewish Academy High School for providing support, encouragement and for always inspiring me to be the best art teacher I could be.
  • Horarios De Autobús Con Destino La Puebla De Híjar

    Horarios De Autobús Con Destino La Puebla De Híjar

    HORARIOS DE AUTOBÚS CON DESTINO LA PUEBLA DE HÍJAR Salida Llegada Circula Exp. Detalles Hora Lugar Hora Lugar De lunes a viernes Más PUEBLA DE 07:10 MUNIESA 08:30 que sean 2047 información HIJAR, LA laborables 1 De lunes a viernes Más PUEBLA DE 07:21 ALACON 08:30 que sean 2047 información HIJAR, LA laborables 1 De lunes a viernes Más PUEBLA DE 07:27 OLIETE 08:30 que sean 2047 información HIJAR, LA laborables 1 De lunes a viernes Más PUEBLA DE 07:30 VINACEITE 07:52 que sean 2954 información HIJAR, LA laborables 2 De lunes a viernes Más PUEBLA DE 07:37 ARIÑO 08:30 que sean 2047 información HIJAR, LA laborables 1 De lunes a viernes Más PUEBLA DE 07:40 AZAILA 07:52 que sean 2954 información HIJAR, LA laborables 2 De lunes a viernes Más ALBALATE DEL PUEBLA DE 07:57 08:30 que sean 2047 información ARZOBIS HIJAR, LA laborables 1 De lunes a viernes Más PUEBLA DE 08:00 ESCATRON 08:19 que sean 2364 información HIJAR, LA laborables 1 De lunes a viernes Más URREA DE PUEBLA DE 08:05 08:30 que sean 2047 información GAEN HIJAR, LA laborables 1 De lunes a viernes Más PUEBLA DE 08:07 CASTELNOU 08:19 que sean 2364 información HIJAR, LA laborables 1 De lunes a viernes Más PUEBLA DE 08:10 JATIEL 08:19 que sean 2364 información HIJAR, LA laborables 1 De lunes a viernes Más PUEBLA DE 08:15 HIJAR 08:30 que sean 2047 información HIJAR, LA laborables 1 PUEBLA DE De lunes a viernes Más 14:50 HIJAR 15:00 2955 HIJAR, LA que sean información laborables 2 De lunes a viernes Más PUEBLA DE 14:50 ALCORISA 15:54 que sean 2801 información HIJAR, LA laborables 1 De lunes
  • Echoes of Paradise: the Garden and Flora in Islamic Art | Flora and Arabesques: Visions of Eternity and Divine Unity

    Echoes of Paradise: the Garden and Flora in Islamic Art | Flora and Arabesques: Visions of Eternity and Divine Unity

    Echoes of Paradise: the Garden and Flora in Islamic Art | Flora and Arabesques: Visions of Eternity and Divine Unity ‘When flowers are not depicted naturalistically they are often used in fantastic arrangements.’ When flowers are not depicted naturalistically in Islamic art, they are often used in more or less fantastic arrangements intended to enhance the surface of a building or an artefact to their best advantage. Such floral compositions are often so intricate that they completely distract the eye from the physical characteristics of the object they decorate or, indeed, obscure them. Buildings and artefacts may appear as if draped with carved, painted or applied floral arrangements. Primarily decorative, such floral schemes still offer spiritual minds the opportunity to contemplate the eternal complexity of the Universe, which emanates and culminates in its Creator, Allah. Name: Great Mosque and Hospital of Divri#i Dynasty: Hegira 626/ AD 1228–9 Mengücekli Emirate Details: Divri#i, Sivas, Turkey Justification: The entire façade of this imposing structure is enhanced with fantastic floral designs, suggesting that a higher world can be found beyond its gate. Name: Chest from Palencia Cathedral Dynasty: Hegira 441 / AD 1049–50 Taifa kingdom of Banu Dhu'l-Nun Details: National Archaeological Museum Madrid, Spain Justification: The intricate floral openwork seen on this casket suggests a delicate layer of lace rather than solid ivory plaques on a wooden core. Name: Qur'an Dynasty: Hegira Safar 1259 / AD March 1843 Ottoman Details: Museum of Turkish and Islamic Arts Sultanahmet, Istanbul, Turkey Justification: The Word of Allah in the Qur'an is enclosed by a floral frame, the design of which is inspired by European Baroque and Rococo patterns..
  • Seville Film

    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.
  • 2008 Romanesque in the Sousa Valley.Pdf

    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.
  • Subasta Octubre 2019

    Subasta Octubre 2019

    Subasta Octubre 2019 MITTWOCH 9 OKTOBER 2019 KL. 16:00 CEST (1 - 481) 1. LOMBARD SCHOOL. Gold reliquary medallion, late 16th 9. Jewellery set consisting of a brooch and earrings in gold, first Century - early 17th Century. half of the 19th Century. 18K gold, black enamel and central medallion depicting the Adoration of 14K gold, gilt metal and oval, round and square cut garnets, 1.80 cts the Shepherds on the front and the Flight to Egypt on the back, in approx. Brooch: 5.4x4.5 cm. Earrings: 4.3 cm. 20.5 gr. reverse-glass painting and églomisé. 4.8 x 3.8 cm. 31.8 gr. Schätzwert: 750 EUR Schätzwert: 550 EUR Endpreis: - Endpreis: 1.800 EUR 10. Catalan silver long earrings, 19th Century. 2. Two reliquary pendants, 17th-18th centuries. Silver, probably oval, cushion and pear cut topazes, 2.85 cts and rose One of them in the shape of Jerusalem Cross in silver and wood with cut diamonds, 0.25 cts approx. Original case included. 5.8 x 1.4 cm. mother of pearl inlays; and the other one as a medallion depicting Our 13.9 gr. Lady of Sorrows with the attributes of passion on the front and Saint Schätzwert: 300 EUR Margaret in an illuminated engraving on the back. 7.5x4.8 cm and 7x4.7 Endpreis: 650 EUR cm. 56.3 gr. Schätzwert: 550 EUR 11. Coral long earrings and bracelet, 19th Century. Endpreis: - 14K and 18K gold, coral beads, two flower-shaped coral beads, carved coral beads and coral cameo with the representation of a male bust.
  • Jobs in Roman Spain

    Jobs in Roman Spain

    JOBS IN ROMAN SPAIN Leonard A. Curchin A l'économie? L'épitaphe peut-être révélera un métier ignoré. (Marc Bloch, Apologie pour l'histoire [Paris 1952] 73) While the range of occupations attested for residents of the city of Rome has been the subject of several studies,1 considerably less attention has been focused upon jobs in the provinces. This disparity may be due partly to an understandably greater interest in the imperial capital than in peripheral regions, but also and perhaps chiefly to the fact that the columbaria of Rome provide convenient, "closed" samples of inscriptions from a single city within limited chronological bounds, whereas the epigraphic evidence (which is by far the largest segment of testimony)2 for provincial jobs, being scattered over vast geographical tracts and extensive periods of time, is far less diagnostic. An analysis of the epitaphs from a single provincial city would in most cases yield only a handful of jobs, while an attempted study of a chronologically restricted sample would be considerably impeded by our inability to date closely the majority of the inscriptions. For better or worse, then, all the inscriptions of a province or region should be studied as a whole, preferably in constant comparison with avail- able literary and iconographie evidence, and the provincial historian may thereby hope to reap a large selection of job titles from his chosen bailiwick.3 32 33 The present paper examines the types of jobs attested for the residents of Spain from the advent of the Romans in the late third century B.C.
  • An Architectural Heritage with Strong Islamic Influence

    An Architectural Heritage with Strong Islamic Influence

    Fernando Branco Correia, Int. J. of Herit. Archit., Vol. 1, No. 4 (2017) 640–653 SOUTHERN PORTUGAL – AN ARCHITECTURAL HERitaGE WITH STRONG ISLAMIC INFLUENCE FERnando BRANCO CORREIA CIDEHUS – Universidade de Évora, Portugal. ABSTRACT The western part of al-Andalus was a peripheral zone of the Islamic World, far from the area of the Gua- dalquivir River and the Mediterranean coast. But in this western area there are important architectural elements from the Islamic era. In addition to the reuse of defensive and civilian structures from Roman times, there were military building programmes on the coastlines, from the 9th century onwards, with the arrival of Norse raiders. Moreover, some chronicles refer, for the 10th and 11th centuries, to the con- struction of ‘qasaba’(s) (military enclosures) in some cities and the total reconstruction of city walls. Recent archaeological activity has made evident traces of small palaces, houses and city walls but there is also an architectural heritage visible relative to other buildings – such as mosques and even small ‘ribat’(s) along the coastline. Some techniques, like that of ‘rammed earth’, are known to have been common in the Almohad period. In general terms, one can identify several remnants of buildings – religious, civil and military – with different construction techniques and traditions, not only the reuse of older constructions but also the erection of new buildings. On the other hand, it is possible to find parallels to these buildings in such varied areas as other parts of the ancient al-Andalus, North Africa, Syria and even Samarra (Iraq). This area of the Iberian Peninsula, described in chronicles as Gharb al-Andalus, is a hybrid region, where different traditions converged, taking advantage of the legacy of previous periods, mixing that legacy with contributions from North Africa, different areas of the Mediterranean and even the Middle East.
  • A Comparison of the Great Mosque of Cordoba and Notre-Dame-Du-Chartres

    A Comparison of the Great Mosque of Cordoba and Notre-Dame-Du-Chartres

    Divine Constructions: A Comparison of the Great Mosque of Cordoba and Notre-Dame-du-Chartres Author: Rachel King Persistent link: http://hdl.handle.net/2345/504 This work is posted on eScholarship@BC, Boston College University Libraries. Boston College Electronic Thesis or Dissertation, 2007 Copyright is held by the author, with all rights reserved, unless otherwise noted. Divine Constructions: A Comparison of the Great Mosque of Cordoba and Notre-Dame-du-Chartres By: Rachel King Advisor: Katherine Nahum Art History May 1, 2007 1 TABLE OF CONTENTS Introduction………………………………………………………………...3 1. History and Culture……………………………………………….......12 2. Form and Function……………………………………………………27 3. Light and Space……………………………………………………….36 4. Narration and Decoration..............................................................49 5. Beauty and Order………………………………………………….….65 Bibliography……………………………………………………………....74 2 INTRODUCTION Rising above the French countryside, with high towers ascending into the sky and graceful buttresses soaring over the ground, the Cathedral of Notre-Dame-du-Chartres cuts a magnificent profile against the French horizon. It is unmistakable, commanding the eye for miles, sitting on the hill like a queen Fig. 1 Notre Dame-du-Chartres Cathedral , aerial view upon a throne. An elegant symphony of glass and stone, the cathedral bridges earth and sky, both literally and symbolically. A miracle of engineering, the cathedral is a testament to human creativity and divine majesty. One thousand miles to the south, the white streets of Cordoba twist and turn until, as if by accident, they stumble upon a magnificent sand colored building hidden behind a grove of trees. The mosque does not rise vertically but stretches horizontally, low to the ground, except for the tall minaret that casts its shadow over the courtyard.