To speak of Silos and Limoges is to consider a fundamental chapter in the history of enamelling in medieval times.
To speak of Silos and Limoges is to consider a fundamental chapter in the history of enamelling in medieval times.
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.
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.
The iconostasis is, in the Orthodox world, the Western equivalent of the altarpiece, i.e. the framework in which the icons are inscribed, which are analysed in their hierarchical aspect and liturgical significance, as well as the progressive creation of new themes over the centuries. The evolution of the iconostasis from its birth to the present day is also analysed, emphasising the prominent role of Russia, through its great artists and derived schools.
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.
This article presents the collection of late medieval and Renaissance amulets with magic squares from the National Archaeological Museum of Madrid, virtually unpublished to date. The planetary amulets depict various Greco-Roman deities syncretised with Hebrew angels (e.g. Venus-Anael or Jupiter Satchiel). The backs are occupied by magic squares, each symbolising the corresponding planet through a numerical combination. The pentagon amulets show on the obverse the face of Christ inserted in this geometrical figure. Their reverses are again occupied by magic squares, although the numerical values have been replaced by variations of the Name of God in Hebrew letters. This set offers an interesting insight into little-studied beliefs and practices that combine Renaissance symbolism, Hebrew tradition and classical heritage.
The purpose of this work is to approach the religious mentality, beliefs and devotions through the study of the iconography applied to the sepulchres of the clergy, which as a whole constitute one of the fundamental sources of knowledge of late medieval spirituality. The choice of the Burgos area is due to the consideration that the most interesting collection in Castile is preserved there, both in terms of quantity and quality, and for this reason, knowledge of it can be useful, and also suggestive for establishing comparisons with other centres of activity in the Peninsula.
Throughout its history, the National Archaeological Museum has treasured Gothic funerary monuments of great artistic and documentary value of great artistic and documentary value that express, through their iconography, the values and beliefs of the late Middle Ages values and beliefs of the late medieval period. This study focuses on three of these monuments, belonging to to some highborn women who undertook great funerary projects to perpetuate their fame and that of their lineage fame and that of their lineage by displaying their power.
In Pamplona Cathedral, an image of Christ Crucified is venerated which presides over an original altarpiece from the beginning of the 16th century – no doubt recomposed in the 19th century – made up of sixteen patriarchs from the Old Testament wearing phylacteries, whose texts reveal their inspiration in the French late medieval Mysteries. The altarpiece of the Christ of Caparroso originally appeared, together with the altarpiece of Saint Thomas, in the funerary chapel of Pedro Marcilla de Caparroso, whose tombstone has recently been recovered. The extensive representation of prophets and other characters from the Old Law in the altarpiece of Santo Cristo has led me to propose as a possible source the Mystery Secundum legem debet mori, by Denis Roce, or some other lost text. This text forms part of the large number of Moralities and Mysteries throughout Europe, but which originated in France, based on verse 7 of chapter 19 of the Gospel of John Nos legem habemus et secundum legem debet mori. In the aforementioned Mystery, the theatrical foundation was sought for the prophets of the “well of Moses” of the Charterhouse of Charnprnol, some of whose verses appear in the Myst&e de Rouergue, whose main source is the Preces de Bélia, written in Aversa (Naples). The Virgin plays an extraordinarily active role in the process. She pleads with the prophets, as judges, the cause of her Son condemned to die. She hoped to obtain a favourable sentence from them in order to spare him death. The prophets, however, pronounced inexorable verses taken from their books. They all answer, by their respective prophecies, that in order to save men, Christ must die. Throughout this study I make an excursus on the various medieval sources of the Mysteries in Sermons and Meditations, which stirred society in the autumn of the Middle Ages.
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.