Vida cotidiana - History Lab https://historylab.es Fri, 20 May 2022 07:39:27 +0000 en-US hourly 1 https://wordpress.org/?v=7.0 https://historylab.es/wp-content/uploads/2021/06/cropped-icono-historylab-32x32.jpg Vida cotidiana - History Lab https://historylab.es 32 32 Plan of the house of María Arenas Romero. Lezuza, 1751 https://historylab.es/plan-of-the-house-of-maria-arenas-romero-lezuza-1751/?utm_source=rss&utm_medium=rss&utm_campaign=plan-of-the-house-of-maria-arenas-romero-lezuza-1751 Sat, 19 Feb 2022 16:32:18 +0000 https://historylab.es/2022/02/19/planta-de-la-vivienda-de-maria-arenas-romero-lezuza-1751/ Plan of a house in Lezuza (Albacete) showing the distribution of the upper and lower floors in 1751

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]]> By studying the house and its distribution by rooms, it is easier to understand the way in which most of the life of the neighbours of the late seventeenth century and the first half of the eighteenth century was spent. It is important to emphasise that the social position and wealth of the owners directly conditioned the location, typology and belongings in their houses. As the author (Hernández, 2016) rightly states: “the house in the Ancien Régime is not a static, closed and immovable entity, but is in permanent construction and interconnected with the world around it”.
The image is a plan of a house in Lezuza (Albacete) of around 107m2 on the ground floor, but most of it is used to house the stables, the hayloft and the courtyard, with just a quarter of the total space reserved for the home and the living quarters in a single body. The separation between the bedrooms and the kitchen consists of an opening, covered only on some occasions with a screen or a door to divide the rooms. The upper floor is left with a space of approximately 27 m2 for the chamber, which used to occupy the upper part of the houses, especially the living area as it is presented here.

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]]> The parish as a central space of social life https://historylab.es/the-parish-as-a-central-space-of-social-life/?utm_source=rss&utm_medium=rss&utm_campaign=the-parish-as-a-central-space-of-social-life Sat, 19 Feb 2022 16:32:18 +0000 https://historylab.es/2022/02/19/la-parroquia-como-espacio-central-de-la-vida-social/ Resource showing the municipal representation highlighting the Church as a central element, reflecting the religious mentality expressed in local symbols

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]]> Once the Reconquest of the Iberian Peninsula for Catholicism was over, new churches and parishes were founded, some where there was already a mosque, others in the central areas of the new population centres that arose. This process of parochialisation had the greatest impact on the configuration of the new Christian society. In the Modern Age, rural communities had the parish as their geographical and social centre, a space that reflected, on the one hand, the political and religious order and, on the other hand, the central point from which to orientate themselves: being in the world. The drawings shown are examples that the author of the resource proposes as forms of representation of the local community, that is, of the very conception of space in the form of churches. Gójar and Calicasas (Granada) were depicted in the Ensenada Cadastre (1753-1754) in the same way that Tomás López, as early as 1786-1789, received a sketch for his Relaciones Geográficas: a church surrounded by houses which, like satellites, mark the form of the structure of the space of the municipality or place. All this reflects the prevailing profound mentality of modernity, which imprinted its everyday values on society.

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]]> Tavern scenes https://historylab.es/tavern-scenes/?utm_source=rss&utm_medium=rss&utm_campaign=tavern-scenes Sat, 19 Feb 2022 16:31:03 +0000 https://historylab.es/2022/02/19/escenas-de-taberna/ Smokers and other characters depicted by Teniers inside a tavern

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]]> Teniers the Younger depicts the typical scene of smokers in a tavern interior, following the models of Adriaen Brouwer. The artist repeats figures and details from other versions in the composition, with slight variations in the organisation of the space and the configuration of the figures. The villagers in the foreground show a harmonious colour scheme in their clothing. This group represents the different stages of the action, from the preparation to the act of smoking and the pleasure of doing so. Other frequent elements in compositions in this style are the sleeping dog and the pipe mouthpiece on the ground, as well as the exquisite detailing of the vessels and other utensils. The interest of Spanish kings in this type of painting was not only shown by Philip IV and Charles II, but also by the Bourbons of the 18th century, who continued to collect paintings by this artist.

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]]> The wedding https://historylab.es/the-wedding/?utm_source=rss&utm_medium=rss&utm_campaign=the-wedding Sat, 19 Feb 2022 16:30:19 +0000 https://historylab.es/2022/02/19/la-boda/ Representation of social reality in a couple's early marital scenes

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]]> The scene, portrayed by Francisco de Goya, takes place under the arch of a stone bridge, where a wedding procession is presented in a rather unequal manner. The determined and beautiful young woman is to be married to a fat, ugly but wealthy man. The bride’s father, wearing a threadbare coat, follows the bridal party with an obliging gesture. The bride’s friends, the wenches, smile with malicious envy and the priest seems to laugh at the father, while a young man in profile, perhaps a rejected suitor, watches the procession pass by with an altered gesture. Thus Goya presents the marriages of convenience so denounced by the Enlightenment, as in Fernández de Moratín’s comedy, “El sí de las niñas” (“The Girl’s Yes”). The tapestry of this cartoon was intended for the decoration “of country and jocular matters” on the main wall of Charles IV’s office in the palatial area of San Lorenzo de El Escorial.

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]]> Hunting with a lure https://historylab.es/hunting-with-a-lure/?utm_source=rss&utm_medium=rss&utm_campaign=hunting-with-a-lure Sat, 19 Feb 2022 16:30:19 +0000 https://historylab.es/2022/02/19/caza-con-reclamo/ Representation of hunting techniques in the 18th century

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]]> Depicted by Francisco de Goya at the end of the 18th century, the composition shows a hunting stand with two caged birds (an owl and a goldfinch). The scene is completed by a crouching dog and a net over the tree that frames the group. It was part of Goya’s first commission for the Royal Tapestry Factory of Santa Bárbara in 1774-75. The composition was the invention of Francisco Bayeu, who, according to surviving documents, was in keeping with the monarchs’ use of the Royal Site of El Escorial for hunting during the autumn. The resulting tapestry was intended to decorate the overdoor in the dining room of the Princes of Asturias (Charles IV and Maria Luisa of Parma).

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]]> Hunting party https://historylab.es/hunting-party/?utm_source=rss&utm_medium=rss&utm_campaign=hunting-party Sat, 19 Feb 2022 16:30:19 +0000 https://historylab.es/2022/02/19/partida-de-caza/ Hunting scene painted by Goya as an example of the social reality of the 18th century

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]]> The scene depicted by the painter Francisco de Goya shows two different types of hunting: on foot and on horseback (as well as small game). It was part of the first commission the master from Zaragoza received for the Royal Tapestry Factory of Santa Bárbara in 1774-75, although the composition was the invention of Francisco Bayeu. This scene was in keeping with the monarchs’ use of the Royal Site of El Escorial, where they spent the autumn. This composition also formed part of the dining room set for the Princes of Asturias (Charles IV and Maria Luisa of Parma)

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]]> The afternoon snack https://historylab.es/the-afternoon-snack/?utm_source=rss&utm_medium=rss&utm_campaign=the-afternoon-snack Sat, 19 Feb 2022 16:30:19 +0000 https://historylab.es/2022/02/19/la-merienda/ Representation of social recreation reflected through the majos painted by Goya

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]]> Tapestry cartoon by Goya depicting a group of majos, seated on the banks of the Manzanares on the outskirts of Madrid, resting, eating, drinking and smoking while toasting the orange seller who has approached them with his merchandise. On the right, the hermitage of the Virgen del Puerto can be glimpsed, hidden by a group of trees. The tapestry resulting from this cartoon would hang in the dining room of the Princes of Asturias (Charles IV and Maria Luisa of Parma) in the Palacio del Pardo, being one of the ten tapestries that made up the series of “country scenes”

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]]> Dancing on the banks of the Manzanares https://historylab.es/dancing-on-the-banks-of-the-manzanares/?utm_source=rss&utm_medium=rss&utm_campaign=dancing-on-the-banks-of-the-manzanares Sat, 19 Feb 2022 16:30:19 +0000 https://historylab.es/2022/02/19/baile-a-orillas-del-manzanares/ Goya's playful depiction of 18th century society

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]]> A tapestry cartoon by Goya depicting a popular scene of majos and majas dancing seguidillas, a popular dance from the region of Castile la Nueva and Madrid that is less lively than the fandango. The view of the banks of the Manzanares faithfully reflects, in the foreground, the area of the Pontones bridge, from where, according to the Zaragozan painter, “in the distance you can see a little of Madrid through San Francisco”. In addition to this one, there are other drawings of the banks of the Manzanares in Goya’s Italian notebook in the Museo del Prado. The tapestry resulting from this cartoon was intended to hang on one of the panels on the side walls of the dining room of the future Charles IV in the Palacio del Pardo in Madrid

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]]> The brawl at the Gallo’s inn https://historylab.es/the-brawl-at-the-gallos-inn/?utm_source=rss&utm_medium=rss&utm_campaign=the-brawl-at-the-gallos-inn Sat, 19 Feb 2022 16:30:19 +0000 https://historylab.es/2022/02/19/la-rina-en-el-meson-del-gallo/ Representation of social reality through the recreation of an episode of conflict between muleteers and rickshaw pullers

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]]> This work is a sketch of the tapestry cartoon entitled “Brawl at the Venta Nueva” which belongs to Goya’s second series of cartoons. The subjects depicted are of a festive nature, reflecting scenes from everyday life. The master from Zaragoza depicts a dispute between muleteers and carriage drivers at the door of the inn due to the bets on the card game that appear on the table. The scene, which is extremely violent, expresses the irrational and aggressive behaviour of human beings when money is involved. Goya has taken great care with the attitudes and gestures of the figures, indicating the role of each character, as, for example, the costumes reveal their origin or condition (the Murcian with his back turned or the Andalusian calesero), demonstrating the artist’s interest in a rigorous analysis of reality

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]]> The woodcutters https://historylab.es/the-woodcutters/?utm_source=rss&utm_medium=rss&utm_campaign=the-woodcutters Sat, 19 Feb 2022 16:30:19 +0000 https://historylab.es/2022/02/19/los-lenadores/ Daily scene of three people chopping firewood, portrayed by Goya

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]]> A group of woodcutters, two of them with axes in their hands, chop down a fallen tree while another with his back to them gathers the wood. The format of the cardboard indicates that it is a composition designed for the decoration of a window shutter and is thus a companion piece to the work “Majo con guitarra” (“Majo with Guitar”). The resulting tapestry was intended for the decoration of the former bedroom of the Princes of Asturias (the future Charles IV and his wife Maria Luisa of Parma) in the Palacio del Pardo in Madrid

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