11. Science and culture as representation in Europe. - History Lab https://historylab.es Tue, 10 Jan 2023 13:25:01 +0000 en-US hourly 1 https://wordpress.org/?v=6.9.4 https://historylab.es/wp-content/uploads/2021/06/cropped-icono-historylab-32x32.jpg 11. Science and culture as representation in Europe. - History Lab https://historylab.es 32 32 The MAN during the Revolutionary Sexennium (1868-1874) https://historylab.es/the-man-during-the-revolutionary-sexennium-1868-1874/?utm_source=rss&utm_medium=rss&utm_campaign=the-man-during-the-revolutionary-sexennium-1868-1874 Thu, 01 Dec 2022 12:47:18 +0000 https://historylab.es/el-man-durante-el-sexenio-revolucionario-1868-1874/ In any revolutionary period it is possible to establish an interrelation between cultural changes -or rather, of cultural politics- and the phenomena of political change. The materialization of this principle is even more evident in the period between 1868-1874, all the more so since it is precisely one of the specific features of the liberal progressivism of the 19th century bourgeoisie, desire, enunciated as an ideological principle, to liberalize the world of culture and put it at the service of greater social participation.

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]]> In any revolutionary period it is possible to establish an interrelation between cultural changes -or rather, of cultural politics- and the phenomena of political change. The materialization of this principle is even more evident in the period between 1868-1874, all the more so since it is precisely one of the specific features of the liberal progressivism of the 19th century bourgeoisie, desire, enunciated as an ideological principle, to liberalize the world of culture and put it at the service of greater social participation.

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]]> An altitude sundial and a Nightlip https://historylab.es/an-altitude-sundial-and-a-nightlip/?utm_source=rss&utm_medium=rss&utm_campaign=an-altitude-sundial-and-a-nightlip Thu, 01 Dec 2022 12:47:11 +0000 https://historylab.es/un-reloj-de-sol-de-altitud-y-un-nocturlabioenlace-externo-se-abre-en-ventana-nueva/ The purpose of this work is to make known a scientific instrument that, due to its importance, was acquired by the State to form part of the Modern Age collections of the National Archaeological Museum.

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]]> The purpose of this work is to make known a scientific instrument that, due to its importance, was acquired by the State to form part of the Modern Age collections of the National Archaeological Museum.

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]]> Middle Ages, Romanticism and opera https://historylab.es/middle-ages-romanticism-and-opera/?utm_source=rss&utm_medium=rss&utm_campaign=middle-ages-romanticism-and-opera Thu, 01 Dec 2022 12:47:11 +0000 https://historylab.es/edad-media-romanticismo-y-opera/ In opera, human feelings are sung. Until Rossini, operatic plots described emotions in an abstract way: love, hatred, jealousy, envy, pride, considered as categories. With the emergence of romanticism, the focus turns to the situation of a specific character, who reacts to other characters who are also individualised. Romanticism exchanges the AFFAIRS of classicism for true PASSION.
This portrayal of feeling as the main cause of the character's behaviour is done at the cost of blurring the environment. Nature is a mere backdrop and the historical setting is of interest not for its authenticity, but as a trigger for the psychological shudders of the protagonists. In the opera, the Middle Ages are made of papier-mâché.

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]]> In opera, human feelings are sung. Until Rossini, operatic plots described emotions in an abstract way: love, hatred, jealousy, envy, pride, considered as categories. With the emergence of romanticism, the focus turns to the situation of a specific character, who reacts to other characters who are also individualised. Romanticism exchanges the AFFAIRS of classicism for true PASSION.
This portrayal of feeling as the main cause of the character’s behaviour is done at the cost of blurring the environment. Nature is a mere backdrop and the historical setting is of interest not for its authenticity, but as a trigger for the psychological shudders of the protagonists. In the opera, the Middle Ages are made of papier-mâché.

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]]> The view of ancient Egypt in Romanticism: Egyptomania https://historylab.es/the-view-of-ancient-egypt-in-romanticism-egyptomania/?utm_source=rss&utm_medium=rss&utm_campaign=the-view-of-ancient-egypt-in-romanticism-egyptomania Thu, 01 Dec 2022 12:47:11 +0000 https://historylab.es/la-vision-del-antiguo-egipto-en-el-romanticismo-la-egiptomania/ 'The Description de l'Égipte', published between 1809 and 1829, Champollion's decipherment of the hieroglyphic writing in 1822, expeditions such as the Prussian expedition led by Richard Lepsius between 1842 and 1845, and the continuous discovery of tombs, temples and treasures in Egypt, laid the foundations for an Egyptomania present in the nascent Egyptological collections of the great European museums, in paintings such as those of David Roberts, and in the descriptions that travellers and explorers made of their experiences in Egypt.
This atmosphere of colossal scenery and riches was captured in the opera Aida. Premiered at the Cairo Opera House on 24 December 1871, two years after the opening of the Suez Canal, where Johann Strauss II's Egyptian March Op. 335 was performed. Auguste Mariette, founder of the Egyptian Antiquities Conservation Service, worked on the plot, costumes and characterisation of the characters.

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]]> ‘The Description de l’Égipte’, published between 1809 and 1829, Champollion’s decipherment of the hieroglyphic writing in 1822, expeditions such as the Prussian expedition led by Richard Lepsius between 1842 and 1845, and the continuous discovery of tombs, temples and treasures in Egypt, laid the foundations for an Egyptomania present in the nascent Egyptological collections of the great European museums, in paintings such as those of David Roberts, and in the descriptions that travellers and explorers made of their experiences in Egypt.
This atmosphere of colossal scenery and riches was captured in the opera Aida. Premiered at the Cairo Opera House on 24 December 1871, two years after the opening of the Suez Canal, where Johann Strauss II’s Egyptian March Op. 335 was performed. Auguste Mariette, founder of the Egyptian Antiquities Conservation Service, worked on the plot, costumes and characterisation of the characters.

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]]> Calculating and geometrical instruments in the ‘Rico y Sinobas’ collection of the National Archaeological Museum https://historylab.es/calculating-and-geometrical-instruments-in-the-rico-y-sinobas-collection-of-the-national-archaeological-museum/?utm_source=rss&utm_medium=rss&utm_campaign=calculating-and-geometrical-instruments-in-the-rico-y-sinobas-collection-of-the-national-archaeological-museum Thu, 01 Dec 2022 12:47:11 +0000 https://historylab.es/instrumentos-de-calculo-y-geometria-en-la-coleccion-rico-y-sinobas-del-museo-arqueologico-nacional/ The National Archaeological Museum (MAN) displays an important collection of scientific instruments from different periods, some of which are of extraordinary value, such as the Roman clock of Belo, the Andalusian planispheric astrolabe of Ibrahim ibn Said al-Sahli, the great astrolabe of Gualterus Arsenius (said of Philip II) and the Rabdologic abacus. There are other objects of interest in the collection where art and mathematics merge. The objects in the collection of Professor Manuel Rico y Sinobas (1819 - 1898), physicist and doctor, are not of the same quality as those mentioned above, but are of interest. The theodolite/astronomical clock by Gualterus Arsenius, which would be an excellent piece if it were complete, is unique of its kind. The collection of 18th-century pantographs is very remarkable. Among the carpenter's and navigator's slide rules there is an extraordinarily rare square-headed ruler.

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]]> The National Archaeological Museum (MAN) displays an important collection of scientific instruments from different periods, some of which are of extraordinary value, such as the Roman clock of Belo, the Andalusian planispheric astrolabe of Ibrahim ibn Said al-Sahli, the great astrolabe of Gualterus Arsenius (said of Philip II) and the Rabdologic abacus. There are other objects of interest in the collection where art and mathematics merge. The objects in the collection of Professor Manuel Rico y Sinobas (1819 – 1898), physicist and doctor, are not of the same quality as those mentioned above, but are of interest. The theodolite/astronomical clock by Gualterus Arsenius, which would be an excellent piece if it were complete, is unique of its kind. The collection of 18th-century pantographs is very remarkable. Among the carpenter’s and navigator’s slide rules there is an extraordinarily rare square-headed ruler.

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]]> Riccardo Colucci, the armoured frigate Arapiles and the National Archaeological Museum’s collection of Cypriot antiquities https://historylab.es/riccardo-colucci-the-armoured-frigate-arapiles-and-the-national-archaeological-museums-collection-of-cypriot-antiquities/?utm_source=rss&utm_medium=rss&utm_campaign=riccardo-colucci-the-armoured-frigate-arapiles-and-the-national-archaeological-museums-collection-of-cypriot-antiquities Thu, 01 Dec 2022 12:47:11 +0000 https://historylab.es/riccardo-colucci-la-fragata-blindada-arapiles-y-la-coleccion-de-antiguedades-chipriotas-del-museo-arqueologico-nacional/ The scientific expedition of the armoured frigate Arapiles led by Juan de Dios de la Rada across the Mediterranean in 1871 brought to the National Archaeological Museum a collection of 319 objects from Italy and the eastern Mediterranean. Of these, just over 77 came from Cyprus and all were donated by the Italian Consul in Larnaca, Riccardo Colucci. Here we analyse his role as a collector and his relationship with the donation to the Museum, highlighting the importance of his figure in the genesis of the Museum's collection of archaeological objects.

The post Riccardo Colucci, the armoured frigate Arapiles and the National Archaeological Museum’s collection of Cypriot antiquities first appeared on History Lab.

]]> The scientific expedition of the armoured frigate Arapiles led by Juan de Dios de la Rada across the Mediterranean in 1871 brought to the National Archaeological Museum a collection of 319 objects from Italy and the eastern Mediterranean. Of these, just over 77 came from Cyprus and all were donated by the Italian Consul in Larnaca, Riccardo Colucci. Here we analyse his role as a collector and his relationship with the donation to the Museum, highlighting the importance of his figure in the genesis of the Museum’s collection of archaeological objects.

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]]> Pedro Dávila y Zúñiga, 1st Marquis of Las Navas. Artistic patronage and antiquarian collecting in the courts of Charles V and Philip II https://historylab.es/pedro-davila-y-zuniga-1st-marquis-of-las-navas-artistic-patronage-and-antiquarian-collecting-in-the-courts-of-charles-v-and-philip-ii/?utm_source=rss&utm_medium=rss&utm_campaign=pedro-davila-y-zuniga-1st-marquis-of-las-navas-artistic-patronage-and-antiquarian-collecting-in-the-courts-of-charles-v-and-philip-ii Thu, 01 Dec 2022 12:47:04 +0000 https://historylab.es/pedro-davila-y-zuniga-i-marques-de-las-navas-patrocinio-artistico-y-coleccionismo-anticuario-en-las-cortes-de-carlos-v-y-felipe-ii/ Pedro Dávila y Zúñiga (1498-1567), 1st Marquis of Las Navas, was a prominent figure in the courts of Charles V and Philip II; in the words of Manuel Gómez-Moreno, a 'champion of the Renaissance'.
This study brings together his many personal and artistic relationships within the framework of the cosmopolitan Hispanic court and through a lifetime of travels. His humanist interests materialised in his library and his antiquarian collection, of which the National Archaeological Museum possesses nine Roman pieces from the Magalia castle-palace in Las Navas del Marqués and two Vettones boars from the Dávila palace in Ávila. In addition, this institution holds the funerary tombstone of the 1st Marquises of Las Navas, the main work of art commissioned by Pedro Dávila, which raises the idea of love post mortem in a virtuoso literary and iconographic exercise on true friendship, conjugal love and the rites of marriage.

The post Pedro Dávila y Zúñiga, 1st Marquis of Las Navas. Artistic patronage and antiquarian collecting in the courts of Charles V and Philip II first appeared on History Lab.

]]> Pedro Dávila y Zúñiga (1498-1567), 1st Marquis of Las Navas, was a prominent figure in the courts of Charles V and Philip II; in the words of Manuel Gómez-Moreno, a ‘champion of the Renaissance’.
This study brings together his many personal and artistic relationships within the framework of the cosmopolitan Hispanic court and through a lifetime of travels. His humanist interests materialised in his library and his antiquarian collection, of which the National Archaeological Museum possesses nine Roman pieces from the Magalia castle-palace in Las Navas del Marqués and two Vettones boars from the Dávila palace in Ávila. In addition, this institution holds the funerary tombstone of the 1st Marquises of Las Navas, the main work of art commissioned by Pedro Dávila, which raises the idea of love post mortem in a virtuoso literary and iconographic exercise on true friendship, conjugal love and the rites of marriage.

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]]> The assembler and sculptor Antonio de Alloytiz and his relationship with Madrid https://historylab.es/the-assembler-and-sculptor-antonio-de-alloytiz-and-his-relationship-with-madrid/?utm_source=rss&utm_medium=rss&utm_campaign=the-assembler-and-sculptor-antonio-de-alloytiz-and-his-relationship-with-madrid Thu, 01 Dec 2022 12:47:04 +0000 https://historylab.es/el-ensamblador-y-escultor-antonio-de-alloytiz-y-su-relacion-con-madrid/ Antonio de Alloytiz was the most outstanding architect of the altarpiece during the 17th century in Vizcaya, to which his knowledge of the sculptural style of Gregorio Fernández and his contacts with the altarpiece architect Pedro de la Torre contributed. We study his relationship with Torre and other court architects such as Bernabé Cordero and the Jesuit Francisco Bautista, his numerous trips to the court, where his business dealings led him to buy and sell a chapel in the convent of Santo Domingo el Real, acting as an intermediary in the context of a complex lawsuit. We also attribute to him two works conserved in museums and related to Madrid for different reasons, a monstrance from the Diocesan Museum of Sacred Art in Bilbao, which belonged to the disappeared main altarpiece of the parish church of Ochandiano, and an Immaculate Conception in the National Archaeological Museum, possibly from an altar in the church of Gordejuela.

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]]> Antonio de Alloytiz was the most outstanding architect of the altarpiece during the 17th century in Vizcaya, to which his knowledge of the sculptural style of Gregorio Fernández and his contacts with the altarpiece architect Pedro de la Torre contributed. We study his relationship with Torre and other court architects such as Bernabé Cordero and the Jesuit Francisco Bautista, his numerous trips to the court, where his business dealings led him to buy and sell a chapel in the convent of Santo Domingo el Real, acting as an intermediary in the context of a complex lawsuit. We also attribute to him two works conserved in museums and related to Madrid for different reasons, a monstrance from the Diocesan Museum of Sacred Art in Bilbao, which belonged to the disappeared main altarpiece of the parish church of Ochandiano, and an Immaculate Conception in the National Archaeological Museum, possibly from an altar in the church of Gordejuela.

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]]> Writing in the Medieval Christian World (5th to 15th centuries) https://historylab.es/writing-in-the-medieval-christian-world-5th-to-15th-centuries/?utm_source=rss&utm_medium=rss&utm_campaign=writing-in-the-medieval-christian-world-5th-to-15th-centuries Thu, 01 Dec 2022 12:47:04 +0000 https://historylab.es/la-escritura-en-el-mundo-medieval-cristiano-siglos-v-al-xv/ This article deals, with a didactic intention, with the evolutionary study of writing during the medieval centuries in Christian Spain, up to the Modern Age, with reference to some pieces preserved in the collection of the National Archaeological Museum, analysing their essential characteristics, from a palaeographic point of view, and explaining the different cycles that developed, the historical and social context in which they arose, the causes that influenced the different forms of writing, including the writing materials, giving an overall view of the use of writing in the Middle Ages, and explaining the different cycles that developed, the historical and social context in which they arose, the causes that influenced the different forms of writing, including the written materials, giving an overall view of the use of writing in this period, as a cultural expression and testimony of human activity.

The post Writing in the Medieval Christian World (5th to 15th centuries) first appeared on History Lab.

]]> This article deals, with a didactic intention, with the evolutionary study of writing during the medieval centuries in Christian Spain, up to the Modern Age, with reference to some pieces preserved in the collection of the National Archaeological Museum, analysing their essential characteristics, from a palaeographic point of view, and explaining the different cycles that developed, the historical and social context in which they arose, the causes that influenced the different forms of writing, including the writing materials, giving an overall view of the use of writing in the Middle Ages, and explaining the different cycles that developed, the historical and social context in which they arose, the causes that influenced the different forms of writing, including the written materials, giving an overall view of the use of writing in this period, as a cultural expression and testimony of human activity.

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]]> The tomb of Don Pedro Suárez III (14th c.) and the Toledo workshop of Ferrand González https://historylab.es/the-tomb-of-don-pedro-suarez-iii-14th-c-and-the-toledo-workshop-of-ferrand-gonzalez/?utm_source=rss&utm_medium=rss&utm_campaign=the-tomb-of-don-pedro-suarez-iii-14th-c-and-the-toledo-workshop-of-ferrand-gonzalez Thu, 01 Dec 2022 12:47:04 +0000 https://historylab.es/el-sepulcro-de-don-pedro-suarez-iii-s-xiv-y-el-taller-toledano-de-ferrand-gonzalez/ The Federico Marés Museum has among its rich collection a work that is representative of Gothic sculpture in Toledo from the last quarter of the 14th century. This is the sepulchral monument of Don Pedro Suárez de Toledo, a member of two of the most powerful families who played an important role in the political life of the 14th and 15th centuries.

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]]> The Federico Marés Museum has among its rich collection a work that is representative of Gothic sculpture in Toledo from the last quarter of the 14th century. This is the sepulchral monument of Don Pedro Suárez de Toledo, a member of two of the most powerful families who played an important role in the political life of the 14th and 15th centuries.

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