It has often been assumed that the origin of the population in the Sierra de Guadarrama had to do with the logging of the forest. However, the analysis of the documentation in this article demonstrates that such permanent settlement had to do with pastoralism, resulting in the repeated construction of resources that still exist and are awaiting in-depth study.
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To speak of Silos and Limoges is to consider a fundamental chapter in the history of enamelling in medieval times.
In recent years, new lines of research have been developed that allow us to broaden our knowledge of the Jewish quarter of Toledo. In this sense, this work focuses on a subject that has been little dealt with in the literature, namely the funerary use of the space of the Tránsito Synagogue. To this end, it describes the unpublished results of two archaeological campaigns (1987-1989 and 2001-2002) in the Great Prayer Room (14th century), which was transformed into a church and cemetery (15th to 19th centuries) and is now the site of the Sephardic Museum. The publication of this work also brings to light the osteological results of a group of individuals who were buried in this place in modern and contemporary times.
The aim of this study is to research and analyse the 15th-century panel paintings in the National Archaeological Museum, whose artists’ names are well known. These works reveal the stylistic evolution of the Spanish schools, in which the Italo-Gothic, International and Flemish artistic currents are represented.
On the occasion of the museographic renovation of the National Archaeological Museum, an important codex from the Department of Medieval Antiquities, known as the Huesca Bible, was restored. This article describes the work, both in terms of its intellectual and material values, and the determination and justification of the treatments carried out. The actions have followed the criterion of maximum respect for the integrity of the work, guaranteeing the minimum intervention and respecting and maintaining all the original elements.
The aim of this research is to complete the work published in 1997 in the Boletín del M.A.N., thus fulfilling the aim of making known the complete collection of 15th-century panel paintings in the National Archaeological Museum. This article includes the anonymous 15th-century paintings and those attributed to the masters of Osma, Paredes de Nava and San Nicolás.
Poetry of an amorous nature, composed and performed by troubadours, played an important role in the courtly spheres of Europe from the 11th to the 14th centuries. This importance is reflected in various sumptuary objects whose function is closely related to their own iconography, with the gallant and playful themes typical of the troubadour universe taking precedence. The most outstanding known pieces are analysed, such as amatory boxes and chests, made of various materials such as polychrome wood or covered with embossed metal sheets, as well as the most sumptuous pieces made of ivory, among which we also find other important objects such as mirrors.
Sometimes the titles of styles lend themselves to confusion and lead to errors that are difficult to eradicate. This is the case of the treasure of San Isidoro de León, which, although it has come down to us in a much diminished state, originally represented a collection of artistic works of great quality and beauty. It was donated by King Ferdinand I and Doña Sancha to San Isidoro in 1063, that is, when the Hispanic liturgy, linked to tradition, was in full force.
The art should not be ascribed to the Romanesque style, which in the Hispanic kingdoms is fundamentally related to works after 1080, the year of the Council of Burgos, which imposed the use of the Roman liturgy. The Oviedo treasure, like the Asturian monarchy itself, refers back to the ancient Visigothic monarchy. The Visigothic kingdom of Toledo was a constant point of reference in the artistic and political projects emanating from the court of Oviedo. The survival of iconographic types, such as the Greek cross with pawed arms, in the most varied arts, as well as the continuity of certain offerings, is nothing more than a manifestation of respect for tradition rather than an interest in introducing new fashions. The custom of donating votive wreaths of the type found in the Guarrazar treasure survives during the reign of Fernando I.
The commissioning of a Beatus by the same monarch, which is the most genuine manifestation of Hispanic monastic liturgy, must also be considered to have survived. Romanesque art is reflected in some later, particularly important works, such as the Holy Ark in Oviedo Cathedral.
In al-Andalus, the workings of the mines were highly complex, as they often involved a series of processes at the mouth of the mine, which were not part of the mining system itself, but which were essential for the use of the metals that were to be extracted essential for the exploitation of the metals to be extracted. In this sense, this article aims to study the work carried out at the bottom of the mine in Andalusian gold and silver mines. To this end, we use the information provided by medieval documentary sources, the results obtained by Experimental Archaeology and the conclusions drawn from fieldwork in silver and gold mines.
This article is about a Nasrid bridle from the 15th century, for the mule of a young Moorish girl, daughter of the Alcaide of Serón (Almería), who was on her way with her retinue to Baza (Granada) to get married. Forty young knights from Lorca set out at night with the aim of conquering glory and honour, under the command of D. Diego López de Guevara. Ambushed under cover, near the road, they harassed the retinue, annihilating some and making prisoners of others, among them the young bride, who was finally freed. In gratitude, she gave the chief of Lorca a jewel of gold and gemstones, which she wore on her chest, and the headpiece. This type of Nasrid harness was highly prized, and as such is documented among the prizes of Queen Isabella the Catholic.
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This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.
This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.
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