Manuel Castiñeiras | Universitat Autònoma de Barcelona (original) (raw)

Articles in Journals by Manuel Castiñeiras

Locus Amoenus, 21, 2023

The discovery in the art market of a previously unknown fragment of marble from the portal of the... more The discovery in the art market of a previously unknown fragment of marble from the portal of the monastic church of Sant Pere Rodes (El Port de la Selva, Alt Empordà), allows for a better reconstruction of the iconographic programme of the facade as created by the Cabestany Master around 1163. The fragment represents the titulus crucis, and originally crowned the monumental cross that stood over the lower tympanum, as can be deduced from early descriptions. The piece also allows us to probe other issues: the distinctive technique of the Cabestany Master, the supply of stone for his workshop, and the meaning and liturgical function of the cross in the context of this Benedictine monastery in the Empordà.

Ad Limina, 2023

The possible depiction of a figurative cycle based on the Carolingian repertoire (Chanson de Rola... more The possible depiction of a figurative cycle based on the Carolingian repertoire (Chanson de Roland, Historia Turpini) in the remains from the no longer extant Romanesque cloister of the old canons’ house at Santa Maria de Solsona (1163-1195) raises several questions relating to the interest and diffusion of this epic cycle in the Catalan context of the last third of the 12th century. With this end, a series of texts and images that bear witness to the reception of this repertoire in these lands will be analysed, as well as the reasons that led to the incorporation of this theme into the monumental decoration of religious buildings

The so-called wooden “Deposed Christ” or “Burgundian Christ” is possibly the most extraordinary w... more The so-called wooden “Deposed Christ” or “Burgundian Christ” is possibly the most extraordinary wooden sculpture of the 12th century in Europe. The artwork, originally part of a lost Deposition Group conceived for the high altar of the cathedral of Pisa, was moved in 1362 to the chapel dedicated to the Annunciation. Recent research, which was been carried out during the study and restoration of the art piece (2015-2019), has shed light on its transalpine origin, on its function as a reliquary image, and on the complex process behind its creation. The Christ was carved in Burgundy by a sculptor belonging to the circle of Autun, but it Is very likely that the final polychromy (and gilding) were completed in Pisa. The artwork was probably commissioned by archbishop Baldwin (1138-1145), who had been a Cistercian monk at Clairvaux and was very devoted to Saint Bernard, in whose texts are the keys for a theological reading of this masterpiece. Moreover, the choice of a monumental Deposition for the Cathedral of Pisa could also be read as an affirmation of the city in opposition to Lucca and its famous Volto Santo.

Estudios Bizantinos , 10, 2022

The following article deals with an unknown early 16th-century icon of the Koímesis, which can be... more The following article deals with an unknown early 16th-century icon of the Koímesis, which can be attributed to the Ritzos’ workshop. Its study allows us a better understanding of the artistic, aesthetic, and devotional tastes which characterized the Creto-Venetian society in Candia during this period. The overall dimensions and horizontal format of the panel suggest it was destined for a private and devotional use. The recipients were probably a couple of Greek local patricians or plutocrats, who did not hesitate to put themselves forward to be portrayed "alla veneziana" participating as mourners at the Virgin Mary’s funeral.

Journal of the British Archaeological Association, 2021

This article discusses the paintings of the chapter-house of Sijena, most of which were destroyed... more This article discusses the paintings of the chapter-house of Sijena, most of which were destroyed by fire in 1936. To this end, the paper makes use of earlier photographic material, proposes a new reading of the biblical cycle, reconstructs the architectural and ornamental setting of the chapter-house and examines the historical and largely unknown liturgical context that lay behind the selection of images. The striking correspondence between the New Testament cycle at Sijena and the prefatory cycle of miniatures in the Melisende Psalter (1131–43), as well as the use in the nunnery of a liturgy based on that of the canons regular of the Holy Sepulchre and the presence of a Lignum crucis in the chapter-house, sheds light on Sijena’s links to the art and liturgy of the Latin Kingdom of Jerusalem and on Queen Sancha’s motives as patron of this Hospitaller foundation. Thus, we hope to present a holistic interpretation of the chapterhouse in relation to queenship, pious devotion and the evocation of the Holy Land. This ultimately points up the cross-cultural interests of the Kingdom of Aragon and its developing projection into the Mediterranean.

Boletín de la Sociedad Española de Bizantinística, 2020

Con motivo de la reciente reconversión de los museos de Santa Sofía y San Salvador de Cora en mez... more Con motivo de la reciente reconversión de los museos de Santa Sofía y San Salvador de Cora en mezquitas, el Boletín de la SEB ha dedicado un monográfico para redescubrir el valor artístico, histórico y cultural de estos monumentos. Se trata de un tema de actualidad, en el que vale la pena reflexionar sobre las consecuencias que acciones como esta pueden tener para el patrimonio mundial. En este artículo se traza una "biografía" del extraordinario monumento de Hagia Sophia.

ARTS 9 (3) 95, 2020

The cult of St George in the Eastern Mediterranean is one of the most extraordinary examples of c... more The cult of St George in the Eastern Mediterranean is one of the most extraordinary
examples of cohabitation among different religious communities. For a long time, Greek Orthodox,
Latins, and Muslims shared shrines dedicated to the Cappadocian warrior in very different places.
This phenomenon touches on two aspects of the cult—the intercultural and the transcultural—that
should be considered separately. My paper mainly focuses on the cross‐cultural value of the cult
and the iconography of St George in continental and insular Greece during the Latinokratia (13th–
14th centuries). In this area, we face the same phenomenon with similar contradictions to those
found in Turkey or Palestine, where George was shared by different communities, but could also
serve to strengthen the identity of a particular ethnic group. Venetians, Franks, Genoese, Catalans,
and Greeks (Ῥωμαῖοι) sought the protection of St George, and in this process, they tried to
physically or figuratively appropriate his image. However, in order to gain a better understanding
of the peculiar situation in Frankish‐Palaiologian Greece, it is necessary first to analyze the use of
images of St George by the Palaiologian dynasty (1261–1453). Later, we will consider this in relation
to the cult and the depiction of the saint on a series of artworks and monuments in Frankish and
Catalan Greece. The latter enables us to more precisely interrogate the significance of the former
cult of St George in the Crown of Aragon and assess the consequences of the rulership of Greece for
the flourishing of his iconography in Late Gothic art.

Arte medievale, 2020

The Kahn and Mellon Madonnas are among the most intriguing and controversial works in the Nationa... more The Kahn and Mellon Madonnas are among the most intriguing and controversial works in the National Gallery of Art (Washington DC). Their place in the history of medieval painting has been a matter of discussion for decades. Scholars have invoked Byzantine, Italian, and Crusader contexts to explain their idiosyncratic features and their challenging iconographies. Although they have usually been considered as a common topic of discussion, it is reasonable to assume that the Kahn Madonna had its own distinctive trajectory from the beginning. It allows us to re-examine issues such as the original place of production, its patronage and possible early movement in Spain as portable object as well as the circumstances of its purchase in the 20th century. As result, it is very likely that the Kahn Madonna was produced in Constantinople by a Byzantine artist during the rule of emperor Michael VIII in the context of the Union of the Churches (1272-1282) and arrived in Calahorra as part of a diplomatic gift together with a Byzantine epitrachelion.

Romanesque portals are more than simple reflections of biblical, liturgical, paraliturgical or ex... more Romanesque portals are more than simple reflections of biblical, liturgical, paraliturgical or exegetical texts. They are in themselves texts — performative texts. Image-laden portals acted as a stage or backdrop to both liturgical and daily life, and their carvings combined scripturally based and theologically complex rhetoric with vernacular images in ways that affected and modulated the kinaesthetic experience of onlookers. Well-known examples such as Ripoll, Malmesbury, Autun, Moissac, Conques or the portals at the cathedral of Santiago de Compostela are here reconsidered in the light of their performative value — a value that is fundamental to the ontology of Romanesque portals.

Estudios Mindonienses,, 2020

The diocese of Mondoñedo possesses one of the most outstanding medieval heritages in Galicia. The... more The diocese of Mondoñedo possesses one of the most outstanding medieval heritages in Galicia. The Romanesque mural paintings in San Martiño de Mondoñedo (Foz) bear witness to the arrival of the style of the pictorial school of Poitou in Galicia by means of Santiago de Compostela. Their exceptional iconography evokes the loca sancta in Jerusalem and includes the first Hispanic depiction of the Tree of Jesse. The metalwork belonging to the treasures of the bishops Gonzalo and Pelayo II de Cebeyra exemplifies connections with the English Channel as well as the reception of the Limoges enamels into the 13th-century Spain. Finally, the late medieval paintings in the choir at the catedral of Santa María de Mondoñedo show a certain knowledge of Flemish models and their iconographic programme is related to the new political and social context of the Spain of the Catholics Monarchs.

Temi epici e cavallereschi in Italia. Tra letteratura e immagini (XII-XV secolo), Atti della giornata di studi (29-30 novembre 2018, Università di Losanna), a cura di Ilaria Molteni e Irene Quadri, , 2021

This paper focuses on some of the most renowned examples of the 12th-century monumental depiction... more This paper focuses on some of the most renowned examples of the 12th-century monumental depictions of Roland – Brindisi (Italy) and Rio Mau (Portugal) –, drawing attention to a new one which was located in Solsona (Catalonia). All of them have the peculiarity of being part of narrative cycles dated in the second half of the 12th century and located in sacred spaces such as the high-altar (Rio Mau), the chorus (Brindisi) and the cloister (Solsona). These monumental narrative depictions coincidence with the rise of the ecclesiastical interpretations of the Carolingian cycle in terms of Crusade, claiming for an imaginary prestigious past on which to build emerging identities, or pilgrimage routes. All of them aim the moralisation of the chivalric virtues.

Annales d’Histoire de l’Art et d’Archéologie de l’Université Libre de Bruxelles, 2018

Cet article ne prétend pas apporter une solution au thème complexe de « l’interprétation » de la ... more Cet article ne prétend pas apporter une solution au thème complexe de « l’interprétation » de la sculpture romane, mais plutôt offrir de nouvelles pistes de réflexion quant à sa perception de la part du spectateur médiéval. On tentera de mettre en évidence l’incontestable capacité à « communiquer » du médium, la valeur textuelle et intertextuelle des ensembles sculptés, ainsi que la force signifiante de certains de ses éléments les plus provocateurs au regard de la société du XIIe siècle. On signalera en particulier l’accent mis sur la corporéité ou la référence insistante à l’oralité – vernaculaire – dans un monde d’illettrés.

The most recent studies of the sketches drawn at the end of 12th century in the margins of a copy... more The most recent studies of the sketches drawn at the end of 12th century in the margins of a copy of John Chrysostom’s commentary on Genesis (Oxford, Magdalen College, ms. Gr. 3) has raised the controversial question of whether Byzantine model books might have been circulating both sides of the Mediterranean at this date. In my opinion, the Oxford manuscript is proof of the existence of patterns circulating through the workshops and the artist’s desire to practice drawing before painting. Some of these drawings present many similarities with the style and iconography of painters working in Holy Land, Sinai and Catalonia at that date or a little bit after. It allows us to reconsider as well the role played by Catalonia –a land open to the Mediterranean- in the making of the Mediterranean Art around 1200.

“ The making of the Catalan Romanesque altar frontal (1119-1150): Issues of technical training, authorship and patronage”, in Image and Altar, 800-1300, Papers for an International Conference in Copenhagen, 24 October-27 October 2007, ed. Poul Grinder-Hansen, PNM, Copenhagen, 2014, 97-120.

It is very likely that the earliest masters of Catalan panel and mural painting worked under the ... more It is very likely that the earliest masters of Catalan panel and mural painting worked under the wing of the great ecclesiastical centres, such as the monastery of Ripoll or the Cathedrals of Vic and Urgell, whose institutions being repositories of the necessary technical knowledge, oversaw their work and training.

Ad Limina, 2018

An Eagle Eye: Porter, an Itiinerant Pantocrator and the Trail of Conques in Compostela Abstract... more An Eagle Eye: Porter, an Itiinerant Pantocrator and the Trail of Conques in Compostela

Abstract: In their trips to Santiago between 1920 and 1927, Arthur Kingsley Porter and Lucy W. Porter repeatedly took photographs of a Romanesque relief depicting Christ in Majesty. The sculpture was reused in the Renaissance crest crowning the Façade of the Treasure. The article analyzes why A. K. Porter was so interested in this piece, linking it to his studies on the relationship between Compostela and Conques and exploring the possibility that it belonged to a failed initial project for the Puerta de las Platerías.

Suite à l’exposition The Year 1200, organisée en 1970 par le Metropolitan Museum of Art de New Yo... more Suite à l’exposition The Year 1200, organisée en 1970 par le Metropolitan Museum of Art de New York, l’idée prédominante de l’historiographie européenne a été que l’impact de l’art byzantin dans la peinture occidentale s’était produit surtout à travers son assimilation dans les centres artistiques du nord de l’Europe, en particulier dans l’Empire Allemand, en Île-de-France ou dans l’Angleterre des Plantagenets. De là naquit une nouvelle catégorie artistique largement plébiscitée – art 1200 – qui tend à favoriser la voie de transmission septentrionale lorsqu’il s’agit de comprendre certains exemples de la Péninsule Ibérique, du Midi ou même d’Italie, au lieu de reconnaître le rôle actif que joua l’Europe méditerranéenne dans l’accès, la réception et l’assimilation de ces nouvelles formes.

Par ailleurs, le terme monolithique d’ « art byzantin » a été, depuis des décennies, nuancé par une série d’auteurs tels que K. Weitzmann, Jaroslav Folda, Lucy-Anne Hunt, Bianca Kühnel ou encore Michele Bacci, qui ont démontré comment l’interaction entre latins, grecs et chrétiens d’Orient des nouveaux États de Terre Sainte contribua à créer, tout au long des XII et XIII siècles, ce que l’on appelle le Crusader Art (Art des Croisés), lequel eut un impact important en Occident. C’est donc à partir de ce phénomène particulier d’acculturation mené à bien à Jérusalem, Bethléem, Acre, Mont Sinaï, Chypre ou même dans certains endroits de l’Empire Byzantin sous la dynastie des Comnènes et des Anges, que se forgea un art hybride, facilement assimilable par l’Occident.

Cependant, il reste à savoir quels furent les véritables agents de tout ce processus – humains et matériels – qui contribuèrent à ces échanges. Au-delà du rôle des commanditaires – aristocratie et ordres militaires – et de l’acquisition d’objets de luxe, amplement pointés du doigt par l’historiographie, il m’intéresse d’explorer la curiosité inhérente des artistes itinérants – qu’ils soient grecs ou latins – qui se dirigeaient indistinctement vers les deux rives de la Méditerranée. L’assimilation de l’Autre, l’usage ou l’accès aux ‘ανθίβολα byzantins, l’exercice de la mémoire à travers des esquisses, caractérisèrent probablement son singulier processus d’introjection. Après la chute de Jérusalem en 1187, ces échanges se virent particulièrement accélérés en Occident, dont la peinture expérimenta alors les fruits de cette hybridation, ainsi que le montrent, par exemple l’œuvre de Magister Alexander ou la dénommée « croix gréco-pisane ».

The depictions of the Erythraean Sibyl at Sant’Angelo in Formis and in the pulpit at Sessa Aurunc... more The depictions of the Erythraean Sibyl at Sant’Angelo in Formis and in the pulpit at Sessa Aurunca have been connected to the performance of her chant during the Christmas liturgy. A new approach makes it possible to expand our view of the reception of the Sibyl in the Middle Ages. In Campania, the Sibyl was closely linked to the Virgilian tradition and a number of Sibylline sites in the region. The performance of her chant, which was centered on a frightful description of the Last Judgment, not only at Christmas but also on Holy Saturday, breaks new ground in the interpretation of the iconographic programs that involve the Sibyl.

In the Museum of the Studium Biblicum Franciscanum is preserved the Treasure of Bethlehem. It con... more In the Museum of the Studium Biblicum Franciscanum is preserved the Treasure of Bethlehem. It consists of a series of objects that belonged to the Church of Nativity in the medieval period. Among them it must be highlighted 251 organ pipes of various dimensions and a carillon consisting of 13 bells. This contribution proposes that the background of these pieces is related to the liturgical performance in the basilica during the Crusader’s times, in particular, the Chant of Sibyl on Christmas Eve. For that reason, it is very likely that this peculiar musical and dramatic context must be connected with the ornamentation of the church with mosaics, between 1167-1169, depicting both the Liber Generationis –in the main aisle- and the Tree of Jesse with the Sibyl, in the counterfaçade.

Arte medievale, Nuova Serie, 1, 2002, pp. 35-50.

Locus Amoenus, 21, 2023

Ad Limina, 2023

Estudios Bizantinos , 10, 2022

Journal of the British Archaeological Association, 2021

Boletín de la Sociedad Española de Bizantinística, 2020

ARTS 9 (3) 95, 2020

Arte medievale, 2020

Estudios Mindonienses,, 2020

Annales d’Histoire de l’Art et d’Archéologie de l’Université Libre de Bruxelles, 2018

Ad Limina, 2018

An Eagle Eye: Porter, an Itiinerant Pantocrator and the Trail of Conques in Compostela Abstract... more An Eagle Eye: Porter, an Itiinerant Pantocrator and the Trail of Conques in Compostela

Arte medievale, Nuova Serie, 1, 2002, pp. 35-50.

Le Portail polychromé de la cathédarle d’Angers (XIIe-XXIe siècle). La pierre, la couleur et la restauration. Contribution à l’étude des portails médiévaux en France et en Europe, B. Fillion-Braguet, N. Le Luel, C. Mathurin, Presses Universitaires de France, Université de Rennes 2, 2024

Au cours des trois dernières décennies, les études sur la polychromie monumentale, notamment sur ... more Au cours des trois dernières décennies, les études sur la polychromie monumentale, notamment sur les portails polychromés, sont devenues un nouveau genre de l’histoire de l’art médiéval. Délaissée pendant longtemps par l’historiographie, la couleur de la pierre est devenue un thème central de la conservation du patrimoine et de l’étude des monuments. Les cathédrales d’Amiens, Senlis et Angers, ou encore le magnifique ensemble du Porche de la Gloire, sont autant d’exemples de la façon dont le nettoyage et la restauration de ces portails ont fortement contribué à revaloriser l’esthétique des portails peints des XIIe et XIIIe siècles

Splendeurs Liminaires. La Sculpture monumentale des portails ibériques à l’aube du gothique, 2024

Le portail de la Gloire est, sans doute, l’ensemble sculpté le plus spectaculaire, innovant et am... more Le portail de la Gloire est, sans doute, l’ensemble sculpté le plus spectaculaire, innovant et ambitieux de la sculpture ibérique de la fin du XIIe siècle. Son édification fait partie d’une série de travaux réalisée dans la cathédrale de Saint-Jacques-de-Compostelle sous la direction de maître Mateo entre 1168 et 1211, dans le but de moderniser, de rénover et de redonner du sens à l’ancien sanctuaire de pèlerinage. L’incomparable originalité de sa typologie architecturale, de son langage sculptural et de son programme iconographique est le fruit de la rencontre des diverses traditions de l’art roman tardif hispanique et des nouveautés du premier gothique avec les formules de la tendance appelée style 1200. Le résultat est unique et confirme le rôle de Compostelle en tant que l’un des centres catalyseurs des courants internationaux qui caractérisent l’art de la fin du XIIe siècle

L’arte di Nicholaus (Niccolò) -lo scultore che lavorò nei portali centrale e destro del duomo di ... more L’arte di Nicholaus (Niccolò) -lo scultore che lavorò nei portali centrale e destro del duomo di Piacenza (1122)- è nota per l’uso di temi profani e cavallereschi in ambito ecclesiastico e monumentale. Le sue opere più tarde -le facciate di San Zeno (1138) e il Duomo di Verona (1139)- sono state spesso collegate alla diffusione del ciclo carolingio nell’arte romanica, un fenomeno che ha certamente una dimensione europea e che risponde probabilmente a un nuovo rapporto della Chiesa nei confronti dei soggetti dell’emergente epica cavalleresca

Images in Premodern Societies, Firenze, 2023, 90-99., 2023

Following the steps of the colleagues involved in the volume, Images in Premodern Societies. A D... more Following the steps of the colleagues involved in the volume, Images in Premodern Societies. A Dialogue about the State of the Field on the Occasion of the 20th Anniversary of “Iconographica”, edited.by M. Bacci, F. Crivello, V. Scepanovic (Florence, 2023). I would like to share my answers to a questionnaire addressed to a number of art historian on the occasion of the ICONOGRAPHICA 20th anniversary.

Santiago de Compostela: Caminos del saber, del andar y del creer. XII Congreso Internacional de Estudios Jacobeos, Santiago de Compostela, 22-26 marzo de 2022, coord. Paolo Caucci, Manuel Castiñeiras, Xunta de Galicia, Santiago de Compostela, 2023, 35-61, 2023

Vivimos en una era global, en la que todos los fenómenos tienden a ser entendidos desde una persp... more Vivimos en una era global, en la que todos los fenómenos tienden a ser entendidos desde una perspectiva siempre más amplia e integradora. Desde la perspectiva del Global Middle Ages , se ofrece una renovada visión de la peregrinación compostelana, en la que la arquitectura, el arte, los mapas, las descripciones, artísticas, las crónicas y los relatos de peregrinos desempeñan una importante papel en la construcción de una imagen globalizadora del Santiago de Compostela y su camino en su doble valor: centrípeto -como punto de recepción y encuentro- y centrífugo, como lugar de transmisión y difusión a lejanas tierras.

Santos y reliquias. Sonido. Imagen. Liturgia. Textos, ed. Maricarmen Gómez Muntané, Alpuerto, Madrid, 2021, pp. 45-76., 2021

San Jorge es un santo universalmente celebrado por su capacidad de traspasar fronteras culturales... more San Jorge es un santo universalmente celebrado por su capacidad de traspasar fronteras culturales y religiosas, y por la fascinación que su martirio y leyenda posterior han ejercido a lo largo de la Edad Media tanto en el ámbito mediterráneo (Bizancio, Cruzados) como en el de Europa en general, pues se ha convertido en patrón de naciones y territorios muy dispares. Se analiza su peculiar proyección intercultural y transcultural, así como los fenómenos de apropiación, afirmación de identidades y adquisición de nuevos significados ligados a su culto.

Otros monacatos. Experiencias monásticas en el Próximo Oriente, 2023

Se trata de un pionero análisis sobre la originalidad y riqueza del monacato armenio a partir de ... more Se trata de un pionero análisis sobre la originalidad y riqueza del monacato armenio a partir de cuatro partes bien diferenciadas. La primera es una introducción al cristianismo armenio, en un intento de presentar sus peculiaridades teológicas, litúrgicas y organizativas más importantes. En la segunda, se analiza, desde un punto de vista actual, el estado de la cuestión sobre los orígenes y desarrollo del monacato armenio, abordando el tema del paso del modelo eremítico al cenobítico. En tercer lugar, se explican las formas más características de organización monástica en la Armenia medieval y su impacto cultural. Y, por último, se tratan en detalle algunas de las características propias de la arquitectura de los monasterios armenios, en particular, la importancia de los gavits y de las bibliotecas, así como la producción de libros iluminados

L’esegesi in figura : Cicli dell’Antico Testamento nella pittura murale medievale, Fabio Scirea (dir.), Publications de l'ÉFRome. , 2022

Even though the mural paintings in the chapterhouse of the monastery of Santa María de Sigena (Hu... more Even though the mural paintings in the chapterhouse of the monastery of Santa María de Sigena (Huesca, Aragon) have been subject of study by an extensive bibliography, the genuine originality of the biblical narrative decorating this space needs to be explored more fully. The choice of a chapterhouse to display a so-well articulated iconographic programme, the spatial layout of the scenes from the Old and New Testaments through five arches depicting the Ancestors of Christ, and the original palatial aspect of the setting, which was crowned by a luxurious coffered ceiling, lead us to define it as a unique artwork. From a programmatic and visual viewpoint, the chapterhouse becomes a true monumental diagram, which aims to display the history of Salvation in an updated (historical), liturgical and devotional way. Coeval exegetical texts on the biblical account, the own liturgy of the nunneries, and the experience of the Holy Land by the Order of the Hospital appear to explain this peculiar pictorial crossover between biblical typology and topography

Storia dell’arte “on the road”. Studi in onore di Alessandro Tomei, Gaetano Curzi, Claudia d’Alberto, Marco D’Attanasio, Francesca Manzari, Stefania Paone (eds.), Roma, Campisano editore, 2022, 257-264 , 2022

Fede, cultura e pellegrinaggi tra Atlantico e Mediterraneo. Da Finisterre a Santa Maria di Leuca de finibus terrae”, E.N. Barile, N. Gadaleta, M. Resta (Bibliotheca Michaelica 11), Edipuglia, Bari, 2022, 99-127

San Michele Archangelo, ed. Giorgio Otranto, Sandro Chierici, San Paolo-Ultreya, Milano, 2022, pp. 219-233 , 2022

El relieve de la Aparición de Cristo en el Mar de Tiberíades (Barcelona, Museu Frederic Marès, MF... more El relieve de la Aparición de Cristo en el Mar de Tiberíades (Barcelona, Museu Frederic Marès, MFM 654) me permite revisitar la cuestión de la destruida portada realizadas por el Maestro de Cabestany, en Sant Pere de Rodes. Con el análisis de la pieza, y la utilización del recurso de la mise en abyme, propongo una nueva narrativa en el debate de las fuentes y motivaciones de la realización de dicho conjunto.

The Regional and Transregional in Romanesque Europe, ed. J. McNeill, , 2021

To Romanesque viewers, a baldachin-ciborium over the high altar was a rare and distinguished elem... more To Romanesque viewers, a baldachin-ciborium over the high altar was a rare and distinguished element in the liturgical furnishing of a church. Beginning in Rome, where ciboria had been established since the 4th century, the ciborium featured as a prominent sign in basilicas ad corpus or in sanctuaries above reliquary crypts (Old St Peter’s, Sta Maria in Cosmedin, Lateran Basilica, Sta Maria Maggiore). Its use was restricted even in Romanesque Italy. Examples from the 11th and 12th centuries – such as those of Montecassino, San Nicola in Bari, or in the Abruzzi – should been seen as echoing Papal Roman settings. Outside Italy, baldachin-ciboria over high altars are exceptional and seem to be restricted to places and institutions especially concerned to advertise their adherence to papal authority as a guarantor of their rights. Thus the baldachin at Old St Peters is the symbolic and ideological model for those at Cluny, Ripoll, Cuixà, and Santiago de Compostela.
Notwithstanding all this, as with other forms of ‘prototype’ and ‘copy’ the evocation of a prestigious model does not imply a facsimile, and in some cases the choice of materials and figurative ornamentation enhanced old meanings and added new content. Thus, in 11th-century Catalonia ciboria were described as the ‘sancta sanctorum’ of the Temple of Jerusalem, and their pictorial programmes introduced themes that were subsequently incorporated into Romanesque mural and panel painting. In certain later examples, as represented by the mid-12th-century replacement for the canopy at Ripoll or the twin ciboria at San Juan del Duero in Soria (Castile), the significance of the baldachin-ciborium was updated either to reflect Eucharistic themes or to evoke the Holy Land and Christ’s tomb in Jerusalem.

Romanesque, Saints and Pilgrimage, ed. J. McNeill and R. Plant, Routledge, New York-London, 2020, pp. 187-201

As has been noted by a number of scholars, the reliquary-altar depicting the martyrdom of Saint S... more As has been noted by a number of scholars, the reliquary-altar depicting the martyrdom of Saint Saturninus at the abbey church of Saint-Hilaire d’Aude – generally attributed to the enigmatic Master of the Tympanum of Cabestany – is a puzzling and potentially deceptive 12th-century work of art. Superficially it resembles a Late-Antique sarcophagus, carved in the Roman manner on three faces, though the size of the internal cavity makes it clear that it is in fact a reliquary-altar. Furthermore, the style of its carvings is deliberately archaic and designed to emulate Early Christian sculpture. In short, the intention seems to have been to create a sort of counterfeit that might persuade an onlooker to view the altar as a genuine reused Late Antique sarcophagus. One can find similar instances of the imitation of Antiquity elsewhere in 12th-century Languedoc and Tuscany, in which the aim seems to have been to evoke a prestigious past. From a formal point of view, it has led scholars to propose a long and varied training for the Cabestany Master in Tuscany, Languedoc, and even Catalonia. However, certain iconographical details at Saint-Hilaire reveal something of the sources the artist used in carving the reliquary-altar and of the underlying intention behind its creation. This evidence points to a direct knowledge of Roman sculpture reused in 11th-and-12th-century Pisa, as Laura Bartolomé has pointed out. Furthermore, the Benedictine milieu of the abbey, the interests of the family of the Trencavel counts of Carcassonne and the emerging Albigensian conflict are the historical context for the making of this ‘sarcophagus’. It will be concluded that the reliquary-altar acts as a type of manifesto, distancing the community for whom it was made from heresy, in an attempt reclaim the orthodoxy of the past and implicitly compare the troubling present to the age of St. Saturninus and St. Hilaire de Carcassonne.

“Patrons, Institutions and Public in the Making of Catalan Romanesque art during the Comital Period (1000–1137)”, ROMANESQUE PATRONS AND PROCESSES. , ed. J.Camps, M. Castiñeiras, J. McNeill, R. Plant, New York, Routledge,2018, p. 143-158.

UNTIL the middle of the 12th century, Catalonia was not a centre but a periphery. Being outside t... more UNTIL the middle of the 12th century, Catalonia was not a centre but a periphery. Being outside the orbit of the major royal powers, and therefore without a courtly art, the former Marca Hispanica remained distant from the artistic foci of Carolingian and Post-Carolingian art. Besides, it was without a metropolitan see until the conquest of Tarragona. Hence, from the very outset the local Church, together with the lay magnates, exerted artistic agency in an attempt to shore up their ecclesiastical and political status, based on their alliance with the Papacy. In this regard, Oliba, abbot of Ripoll and Cuixà and bishop of Vic, along with his comital family, were leaders in what many authors have defined as the Catalan mini-renaissance of the 11th Century, while Saint Ot of La Seu d’Urgell and his relatives, the counts of Pallars, were one of the driving forces in the transformation of the monumental arts during the late 11th and early 12th centuries. The distinctive role of aristocratic women in the promotion of the minor arts (metalwork and embroidery) during the comital period is also a topic that deserves detailed analysis

La catedral de Santiago de Compostela. Estudios de arte e historia, ed. Ramón Yzquierdo Peiró, Fundación Catedral de Santiago,, 2020

A pesar de la larga tradición historiográfica de estudios sobre la catedral de Santiago en su per... more A pesar de la larga tradición historiográfica de estudios sobre la catedral de Santiago en su período medieval, a día de hoy no resulta tarea fácil reescribir un relato coherente y fehaciente de sus diversos avatares. Si sus orígenes altomedievales subyacen semienterrados bajo el subsuelo de la catedral, el desarrollo de su imponente fábrica románica –a pesar de su aparente unidad– está marcado por una serie de acciones, interrupciones, cambios de plan y remodelaciones, en los que sus protagonistas rara vez nos han dejado una fecha, nombre o acción que haya sido interpretada por la posteridad en un sentido unívoco. Si a ello se le suma la tendencia a fabular del scriptorium compostelano y la agresiva intervención que el templo sufrió en época barroca y neoclásica, que no dudó en desmontar fachadas, forrar capillas y torres, y desmontar altares, el resultado es la de un enorme edificio recompuesto. En consecuencia, quizás más que en otras catedrales y monumentos de la Edad Media europea, la basílica de Santiago es un gigantesco palimpsesto, a veces cercano al patchwork, en el que el aspecto medieval aparece y desaparece entre cosidos, zurcidos, forros y disfraces.

The Routledge Companion to Iberian Studies, ed. Javier Muñoz-Basols, Laura Lonsdale, Manuel Delgado, Taylor and Francis, London, 2017, , 2017

It is well known that between the eleventh century and the thirteenth, Medieval Iberia was a clus... more It is well known that between the eleventh century and the thirteenth, Medieval Iberia was a cluster of different cultures and artistic traditions . Several political powers, religious beliefs and intellectual backgrounds were all to be found in the multifaceted land which lay between the Mediterranean and the Atlantic, from colourful and multicultural Al-Andalus to the emerging and creative Catalan counties. From the end of the eleventh century onwards some artistic enterprises promoted by Christian rulers seem to herald a new era in the use of visual arts, which placing them in the vanguard of Romanesque Europe.....

Rituels religieux et sensorialité (Antiquité et Moyen Âge). Parcours de recherche, Béatrice Caseau, Elisabetta Neri (eds.),, 2021

Les dernières recherches que j’ai menées sur l’image de la Sibylle dans le monde méditerranéen mé... more Les dernières recherches que j’ai menées sur l’image de la Sibylle dans le monde méditerranéen médiéval m’ont conduit à affronter un défi intellectuel concernant ma méthode et mon objet d’étude. Jusqu’à présent, je ne m’étais pas particulièrement penché, d’un point de vue de l’histoire de l’art, sur les phénomènes de sensorialité au Moyen Âge, bien que je sois spécialisé dans l’étude des images et de leur perception par le public médiéval. Cependant, les recherches sur la Sybille ont attiré mon attention sur de nouvelles manières d’étudier le problème de l’image médiévale. En premier lieu et à la lumière de la phénoménologie du corps et de la perception énoncée par Edmund Husserl (1859-1938), j’ai pu mieux comprendre la relation entre les rites rattachés au pèlerinage et leurs espaces de culte...

En esta publicación se reunen 34 contribuciones de una amplia representación de estudiosos de tod... more En esta publicación se reunen 34 contribuciones de una amplia representación de estudiosos de todo el mundo (España, Italia, Alemania, Portugal, Polonia, Chile, Japón y Estados Unidos), con el objetivo de tratar una serie de temas transversales del ámbito jacobeo: desde la catedral de Santiago al Códice Calixtino; desde la peregrinación en el Medievo hasta la actual: así como otros aspectos en relación con otras grandes peregrinaciones históricas.

El Skylitzes Matritensis (BNE, VITR/26/2) es un lujoso códice realizado en Sicilia a mediados del... more El Skylitzes Matritensis (BNE, VITR/26/2) es un lujoso códice realizado en Sicilia a mediados del siglo XII. Se trata del ejemplo más antiguo conservado de una crónica bizantina ilustrada, cuya incomparable profusión de imágenes, constituida por 574 miniaturas ricas en oro y lapislázuli, constituye un aliciente para sumergirse en el imaginario del Imperio bizantino entre los siglos IX y XII. El manuscrito destaca por ser una narración histórica en la que el texto y la imagen se despliegan de forma fluida sobre los folios de pergamino para conformar una verdadera «narración visual», cuyo objetivo no es otro que el de ofrecer al lector una experiencia vívida y trepidante de hechos que sucedieron en el pasado. Además de ser una invitación a adentrarse en ese fascinante y, a menudo, poco conocido mundo de Bizancio, el libro ofrece una reflexión sobre el valor de la imagen artística, su transmisión y los sistemas de ilustración, y pretende desentrañar las circunstancias que hicieron posible la elaboración de este códice en el contexto multicultural de la Sicilia normanda.

Barcelona, Artur Ramon Art, textos en catalán con traducción al castellano, 158 págs., 2023

Esta publicación - promovida por Artur Ramon, Albert Martí Palau y Sergi Clavell- se ha llevado a... more Esta publicación - promovida por Artur Ramon, Albert Martí Palau y Sergi Clavell- se ha llevado a cabo coincidiendo con el milenario de la consagración de la iglesia del monasterio de Sant Pere de Rodes. Estudia la problemática figura del Maestro de Cabestany, ofrece nuevas hipótesis sobre el significado y la función de la perdida portada de Sant Pere de Rodes (ca. 1163) y da a conocer toda una serie de piezas del conjunto que hasta ahora habían permanecido prácticamente inéditas. Es un homenaje a Jaime Barrachina (1951-2020), antiguo director del Museu de Peralada.

IV Seminàrio Internacional Imagens e Litúrgia na Idade Média, ed. Carla Varela Fernandes, Manuel Castiñeiras, Lisboa, , 2021

The book contains 17 contributions by scholars from various countries -Portugal, Spain, France, F... more The book contains 17 contributions by scholars from various countries -Portugal, Spain, France, Finland, Italy and Greece- and differing backgrounds: art historians, byzantinists, historians, curators and conservators. The articles are presented in this volume in three main sections corresponding to the three thematic sessions of the seminar: I. The choice of devotional images, devotions circulation and iconographic hybridization between the two sides of the Mediterranean. II. The creation of new sacred images in the medieval West. III. Representation and circulation in space between walls.

Gangemi Editore International Publishing, 2019

The representation of the months of the year has a long history, and while its origins are to be ... more The representation of the months of the year has a long history, and while its origins are to be found in Antiquity, it is the Middle Ages that sees the subject's fullest development. It was only in the late eleventh century, when sculpture became the preferred medium for the Church to promote great figurative programs whose goal was to present the faithful with the key to their salvation, that the months were included in the decoration of important sacred buildings, creating a dialogue with stories from the Old and New Testament, to illuminate the temporariness of human life. This book underlines the importance of sculpture as a mass medium for the diffusion of the cycles of the months in the Europe of the twelfth and thirteenth centuries, and emphasizes the richness of meaning they contain. In the merely descriptive appearance of seasonal activities that mark the passage of time, these images, corresponding astonishingly to proverbs still in use today but whose original meanings have been lost in the mists of time, were capable of evoking a gamut of multiple associations. However, in this wide and polysemic panorama, there is still room for a new interpretation, which is based on both symbols and precepts and somehow tied, surprisingly, to the sudden climate change phenomenon defined by scholars as the Medieval Climatic Anomaly or Medieval Climate Optimum.

The twenty-five papers in this volume arise from a conference jointly organised by the British Ar... more The twenty-five papers in this volume arise from a conference jointly organised by the British Archaeological Association and the Museu Nacional d’Art de Catalunya in Barcelona. They explore the making of art and architecture in Latin Europe and the Mediterranean between c. 1000 and c. 1250, with a particular focus on questions of patronage, design and instrumentality.

No previous studies of patterns of artistic production during the Romanesque period rival the breadth of coverage encompassed by this volume – both in terms of geographical origin and media, and in terms of historical approach. Topics range from case studies on Santiago de Compostela, the Armenian Cathedral in Jerusalem and the Winchester Bible to reflections on textuality and donor literacy, the culture of abbatial patronage at Saint-Michel de Cuxa and the re-invention of slab relief sculpture around 1100. The volume also includes papers that attempt to recover the procedures that coloured interaction between artists and patrons – a serious theme in a collection that opens with ‘Function, condition and process in eleventh-century Anglo-Norman church architecture’ and ends with a consideration of ‘The death of the patron’.

Se trata de una novedosa aproximación al mundo del artista medieval, cuya obra se debatía entre l... more Se trata de una novedosa aproximación al mundo del artista medieval, cuya obra se debatía entre la autoría divina y la firma individual. Temas como la formación del artista, su estatus laico o eclesiástico, el recurso a los modelos o la importancia de la itinerancia en su aprendizaje son abordados con rigor en esta publicación. Asimismo, los distintos roles profesionales desempeñados en los talleres medievales nos permiten conocer mejor cómo se construía y decoraba una catedral en la Edad Media. En esta visión sociológica de la obra de arte no puede faltar el papel omnipotente de los patronos medievales, personajes normalmente relacionados con la realeza y el estamento eclesiástico, que en muchos casos son los verdaderos “autores” de estas empresas, en la que las mujeres tuvieron también un destacable protagonismo.
En el libro participan 20 autores procedentes de diversas universidades e instituciones museísticas de toda Europa. La publicación es el resultado del proyecto de investigación “Artistas, patronos y público. Catalunya y el Mediterráneo. Siglos XI-XV” (MICINN HAR2011-23015.
Se trata de una novedosa aproximación al mundo del artista medieval, cuya obra se debatía entre la autoría divina y la firma individual. Temas como la formación del artista, su estatus laico o eclesiástico, el recurso a los modelos o la importancia de la itinerancia en su aprendizaje son abordados con rigor en esta publicación. Asimismo, los distintos roles profesionales desempeñados en los talleres medievales nos permiten conocer mejor cómo se construía y decoraba una catedral en la Edad Media. En esta visión sociológica de la obra de arte no puede faltar el papel omnipotente de los patronos medievales, personajes normalmente relacionados con la realeza y el estamento eclesiástico, que en muchos casos son los verdaderos “autores” de estas empresas, en la que las mujeres tuvieron también un destacable protagonismo.
En el libro participan 17 autores procedentes de diversas universidades e instituciones museísticas de toda Europa. La publicación es el resultado de los proyectos de investigación “Artistas, patronos y público. Catalunya y el Mediterráneo. Siglos XI-XV”-Magistri Cataloniae (MICINN HAR2011-23015.) y "Movilidad y transferencia artística en el Mediterráneo Medieval (1187-1388). Artistas, objetos y modelos-Magistri Mediterranei (MICINN-HAR2015-63883-P)
http://editorialcirculorojo.com/entre-la-letra-y-el-pincel-el-artista-medieval-leyenda-identidad-y-estatus/

The book, Galicia and the routes of the Way of St. James, represents a substantial synthesis of ... more The book, Galicia and the routes of the Way of St. James, represents a substantial synthesis of information on the cult of St. James, the beginnings of the pilgrimage, the mark left by this living piece of history in Europe and the presence of various routes running through the heart and soul of Galicia. This publication also offers new interpretations of the Jacobean phenomenon and discusses supra-regional historical relationships evoked by the art of the pilgrimages routes, the work of religious and military orders in providing care, and pilgrims' travel accounts.

En els darrers anys una sèrie d’estudis han intentat esbrinar, amb major o menor dificultat, com ... more En els darrers anys una sèrie d’estudis han intentat esbrinar, amb major o menor dificultat, com era el procés d’aprenentatge de l’artista romànic, quins eren els seus mètodes de treball i, finalment, quin era el seu estatus social. Amb aquest objectiu es va desenvolupar un projecte a la Universitat Autònoma de Barcelona, en col·laboració amb el Museu Nacional d’Art de Catalunya i el Museu Episcopal de Vic, titulat -Artistas, patronos y público. Cataluña y el Mediterráneo (siglos XI-XV)-MAGISTRI CATALONIAE (MICINN HAR2011-23015)-, que es va dur a terme entre els anys 2012 i 2015.
El XXIII Seminari de Romànic, dut a terme el 5 de juliol de 2014, va ser una activitat, en la qual els membres del projecte Magistri Cataloniae varen explicar algunes novetats. La present publicació recull aquells treballs així com el d’Iris Bautista Morenilla i Anna Nualart Torroja, de la Facultat de Belles Arts de la Universitat de Barcelona, ja que ens ha semblat pertinent que la recerca que aquestes dues investigadores havien realitzat sobre el pas del frontal d’altar als retaules primitius durant el segle XIII tingués una representació en aquest número monogràfic. El resultat és una revista en la qual participen persones d’una formació molt variada –historiadors de l’art, conservadors de museu i conservadors-restauradors- que busquen donar resposta a qüestions innovadores com l’estatus de las arts i els artistes a l’època romànica i els coneixements tècnics i materials dels seus protagonistes.

The main goal of this book is the transmission of the results of the research developed within th... more The main goal of this book is the transmission of the results of the research developed within the Research Project “Artists, patrons and audiences. Catalonia and the Mediterranean (11th-15th centuries)-MAGISTRI CATALONIAE (HAR2011-23015), led by the Universitat Autònoma de Barcelona. It is published on the occasion of the exhibition entitled, Pintar fa mil anys. Els colors del romànic (Vic, May 31st-December 14th, 2014), being the result of a collaboration between the UAB and the Museu Episcopal de Vic (MEV). The book mainly aims to look more deeply into issues related to the training and identity of the anonymous Romanesque painters. This task has been made possible thanks to the analysis of some outstanding pieces from the MEV collection -such as the Canopy of Ribes, the frontals of Santa Maria de Puigbò and Espinevles and the Altar of Lluçà- as well as some mural paintings such as those of Saint Thomas Becket in Santa Maria de Terrassa and Sant Martí in Puig-reig. All of them have been analysed using an approach that combined art-historical methodologies along with scientific analysis. It means the reconstruction of the various agencies which are involved in the production of an artwork, and how each of these agencies have an effect on its genesis and reception. This is combined with the application of sophisticated laboratory-based analytical techniques such as Optical Microscopy, SEM-EDX, XR Diffraction, FTIR, Chromatographic Techniques and MALDI-TOF. The result is a fascinating study in which is reported for the first time an ecclesiastical context for the starting of the Catalan panel painting. Furthermore, it discusses in new ways the relation among the illumination, panel an mural painting techniques.

Link to buy it: http://publicacions.uab.es/llibres/fitxa_web_llibres.asp?ID=1930

This publication, which has been edited by Manuel Castiñeiras (UAB) and Jordi Camps (MNAC), is th... more This publication, which has been edited by Manuel Castiñeiras (UAB) and Jordi Camps (MNAC), is the result of the research developed within the Project, Artists, Patrons and Audiences. Catalonia and the Mediterranea (11th-15th centuries)-MAGISTRI-CATALONIAE, funded by the Ministerio de Ciencia e Innovación (HAR2011-23015). www.magistricataloniae.org

Síntesi. Quaderns dels Seminaris de Besalú, 1, 2013, 125 págs.

The Association Amics de Besalú i del seu Comtat. Centre d'Estudis, in collaboration with the Mus... more The Association Amics de Besalú i del seu Comtat. Centre d'Estudis, in collaboration with the Museu Nacional de Catalunya (MNAC) and the MICINN's research project Artistas, patronos y público: Catalunya y el Mediterráneo. Siglos XI-XV. Magistri Cataloniae (HAR2011-23015), promotes an annual Romanesque Seminar, which hosts young scholars' research on medieval art history, giving them the opportunity and the ideal platform to present their first contribution to this discipline.

As a result, it has been published this number of the Síntesi's magazine. It includes the papers which were presented in 2010 and 2011 sessions of this Seminari de Romànic, which were coordinated by Manuel Castiñeiras (UAB) and Jordi Camps (MNAC). Its topic, which is mainly focused on the analysis of jacobean cult and iconography as well as the Virgin ones, is widely related to one of the golds of Magistri Cataloniae research project: processes of creation and reception of images by the audience.

M. Castiñeiras (ed), Catalogue of the Exhibition held at Museu Episcopal de Vic, 12 July- 16 November, Vic, 2008,

Desde la primera vez que contemplé la imagen de la Sibila de Gran laura, acompañada del epígrafe ... more Desde la primera vez que contemplé la imagen de la Sibila de Gran laura, acompañada del epígrafe -ΣΙΒΥΛΛΑ- que no deja lugar a dudas sobre su identificación, me llamó la atención la peculiaridad de su regio y lujoso atuen-do (Fig. 1). A diferencia de la imagen más extendida en occidente, en la que la profetisa aparece con túnica, manto y la cabeza cubierta, a modo de una vestal antigua o de una representación mariana, en el refectorio atonita la Sibila ciñe corona y endosa un suntuoso loros cruzado propio de la vestimenta de una empe-ratriz bizantina. Desde entonces, como estudioso de la iconografía medieval de la Sibila en el contexto de los proyectos dirigidos por Maricarmen Gómez Muntané en los últimos años, me pregunté hasta qué punto era posible relacionar o no esta peculiar imagen bizantina con la larga tradición iconográfica de la Sibila en oc-cidente, habida cuenta que en Bizancio no ha existido ni una tradición litúrgica de interpretación del Canto de la Sibila ni una tempr...

HAL (Le Centre pour la Communication Scientifique Directe), 2015

En 1953, Marcel Durliat, alors conservateur des Antiquités et Objets d’art des Pyrénées-Orientale... more En 1953, Marcel Durliat, alors conservateur des Antiquités et Objets d’art des Pyrénées-Orientales, découvre dans l’église Saint-Sauveur de Cases- noves, à Ille-sur-Tet, un décor peint exceptionnel. Entre le 22 mars et le 1 er avril 1954, les fresques furent arrachées des parois de l’église par Marcel Simon, antiquaire à Villeneuve-lès-Avignon, qui les dispersa illégalement. Plus de soixante-dix ans après, une restitution virtuelle en 3D du décor de cet édifice vient d’être réalisée par l’Institut Image, Arts et Métiers Paris- Tech, dans le cadre du programme de recherche factura initié par l’université Paul Valéry de Mont- pellier et la direction régionale des affaires cultu- relles du Languedoc-Roussillon.

Universidade de Santiago de Compostela. Servizo de Publicacións e Intercambio Científico, 2005

Torn de preguntes a les intervencions de Marta Serrano i Esther Lozano de la Universitat Rovira i... more Torn de preguntes a les intervencions de Marta Serrano i Esther Lozano de la Universitat Rovira i Virgili i del grup TEMPLA, de Manuel Castineiras, de la Universitat Autonoma de Barcelona i de Peter K. Klein de la Universitat de Tubingen

Journal of the British Archaeological Association, 2018

‘This is not yet another book on the medieval artist’, states Manuel Castineiras, editor and cont... more ‘This is not yet another book on the medieval artist’, states Manuel Castineiras, editor and contributor to this publication. A pithy incipit, and perhaps a controversial one: as Castineiras himsel...

Bien que la narration biblique médiévale s’applique à des supports très variés – murs, panneaux d... more Bien que la narration biblique médiévale s’applique à des supports très variés – murs, panneaux de bois, parchemins, ivoires, pierre –, ceux-ci partagent très souvent des modèles communs qui s’adaptent à chacune des techniques. Explorer cette phase préliminaire à l’exécution matérielle d’une œuvre est une tâche ardue, car nous ignorons à peu près tout du travail de conception d’un cycle narratif, surtout à des époques aussi reculées que le XIe siècle. Cependant, toute réflexion cherchant à pallier cet état de fait peut se révéler extrêmement utile car elle permet, d’une part, de mieux comprendre le caractère effectif ou non de certaines stratégies narratives ainsi que leur arrière-plan idéologique, et, d’autre part, à observer comment la construction de certains monuments majeurs peut engendrer une série de synergies artistiques qui facilitent la comparaison ou le passage d’un format à l’autre à partir d’un répertoire commun. C’est pourquoi, je considère que les Bibles catalanes de Ripoll et de Rodes – contemporaines de la construction de la basilique Sainte-Marie de Ripoll entre 1020 et 1032 – et les ivoires de Salerne – probablement réalisés durant les travaux d’édification de la cathédrale Salernitaine consacrée en 1084 (bien qu’une partie de l’historiographie récente a plutôt tendance à les situer à l’époque de Roger II (1130-1154) – se révèlent tous deux très instructifs dans cette démarche.

espanolEn sus viajes a Santiago entre 1920 y 1927, Arthur Kingsley Porter y Lucy W. Porter fotogr... more espanolEn sus viajes a Santiago entre 1920 y 1927, Arthur Kingsley Porter y Lucy W. Porter fotografiaron repetidas veces un relieve romanico con el Cristo en Majestad que entonces se encontraba reutilizado en la cresteria renacentista que corona de la fachada del Tesoro. El articulo analiza el porque del interes de A.K. Porter en dicha pieza, en relacion con sus estudios sobre las estrechas conexiones entre Conques y Compostela, asi como su posible pertenencia a un proyecto frustrado de la fachada de Platerias. EnglishIn their trips to Santiago between 1920 and 1927, Arthur Kingsley Porter and Lucy W. Porter repeatedly took photographs of a Romanesque relief depicting Christ in Majesty. The sculpture was reused in the Renaissance crest crowning the Facade of the Treasure. The article analyzes why A. K. Porter was so interested in this piece, linking it to his studies on the relationship between Compostela and Conques and exploring the possibility that it belonged to a failed initial...

A pesar del indudable valor arquitectonico de las catedrales romanicas hispanas, a dia de hoy sab... more A pesar del indudable valor arquitectonico de las catedrales romanicas hispanas, a dia de hoy sabemos muy poco sobre la identidad de sus autores, el proceso de aprendizaje, estatus o condicion social. Del mismo modo, la informacion relativa a la actividad y organizacion de los talleres constructivos del romanico y al personal que los compone (escultores, albaniles, operarios), con su categorias profesionales (maestros, oficiales, aprendices), ha sido poco explotada. Con todo, el caso hispano es realmente extraordinario tanto por la riqueza como por la diversidad tipologica de fuentes (contratos, cartas de donacion, firmas epigraficas, gestas, periegesis, colecciones de milagros y fuentes iconograficas) que recogen datos sobre los aspectos sociologicos de la construccion de las catedrales. Por ello, este estudio plantea una nueva y contrastada vision de conjunto sobre la construccion de la catedral medieval en su dimension institucional, profesional y social, en la que temas como el ...

En 1953, Marcel Durliat, alors conservateur des Antiquites et Objet d’art des Pyrenees-Orientales... more En 1953, Marcel Durliat, alors conservateur des Antiquites et Objet d’art des Pyrenees-Orientales decouvre dans l’eglise de Casesnoves ce qui alors semblait etre le plus ancien ensemble de peintures murales connu dans la region. Il est accompagne par un photographe du conseil general, Paul Jauzac, qui realise les seules photographies existantes des peintures en place. Elle conservait alors d’importants vestiges dans l’abside, le transept et du chœur. Entre le 22 mars et le 1er avril 1954, les fresques sont arrachees des parois de l’eglise par Marcel Simon (antiquaire a Villeneuve-les-Avignon) qui les disperse illegalement. Dechainant les passions, les peintures de Casesnoves vont donner lieu a une longue historiographie. L’histoire tapageuse qui entoure les peintures a souvent ete mise en avant au detriment de la qualite des peintures elles-memes. Pourtant, l’etude formelle de celles-ci nous amene a renouveler notre regard et a mesurer l’importance de ces vestiges pour l’histoire de...

Journal of the British Archaeological Association, 2020

Arts, 2020

Romanesque Patrons and Processes, 2018

Compostellanum Revista De La Archidiocesis De Santiago De Compostela, 1996

Cahiers De Saint Michel De Cuxa, 2009

The Research Project MABILUS aims to study the precious, varied and largely unknown heritage of B... more The Research Project MABILUS aims to study the precious, varied and largely unknown heritage of Byzantine Illuminated Illumination in Spain, from an essentially art-historical perspective and employing an interdisciplinary approach (Philology, Palaeography, Iconography, History of Techniques; History of Collecting). The objects of enquiry date from the Byzantine period (to 1453), or immediately afterwards (to 1550). The majority are preserved in the Biblioteca Nacional de Madrid and the Real Biblioteca de El Escorial, with some examples in the Biblioteca Universitaria de Salamanca. Among them, the Skylitzes Matritensis, the Akathistos Escurialensis, and the Dioscorides Salmantiensis, which are highlighted by their extensive cycle of images.

The fall of Jerusalem in 1187 and the loss of Athens by the Catalans in 1388 bracket two turbulen... more The fall of Jerusalem in 1187 and the loss of Athens by the Catalans in 1388 bracket two turbulent centuries of growth and expansion on the part of the Latin States in the Mediterranean. These conditions favoured mobility and encouraged artistic transfer between Latins, Greeks and Eastern Christians. The provision of 'protection' for pilgrims to the Holy Land, as well as the creation of new routes for military and commercial expansion, meant that the kingdom of Aragon, along with the leading Italian maritime cities of Venice, Pisa and Genoa, associated themselves ever most closely with the East through the acquisition of relics, spolia, and precious materials as well as through more conventional exchanges of political, dynastic and diplomatic gifts. The result was the circulation of artists, models and objects, and the diffusion of foundational myths (Hercules) or devotions (S. Eulalie, S. Catherine, S. Thecla, S. Barbara, S. Anthony, S. George, S. Mark). The Art of the Military Orders, borrowings from Islam, the prestige of the earlier Crusaders, the meeting of different traditions and knowledge, the fascination for Byzantium, all seem to develop into paradigms during this the new period. This peculiar interaction seems to have been favored across Catalunya Nova (Tarragona), Valencia, Mallorca, Sardinia, Sicily, as well as within the kingdom of Acre, Lusignan Cyprus, the Latin Empire of Constantinople or by the Almogavars in the Byzantine Empire. The ultimate result was the settlement of the Duchy of Athens and Neopatria. This was a two-way exchange which resulted in some interesting examples of acculturation and artistic 'introjection' - a process which is still relatively neglected and should be understood in the context of the Global Middle Ages

www.magistricataloniae.org

A study of the training, apprenticeship and development of the medieval artist, focused on the t... more A study of the training, apprenticeship and development of the medieval artist, focused on the territories of the Principat of Catalonia as well as their expansion, influence and relationships throughout the 11th-15th centuries.

The principal objective of this research project is to reconstruct the different networks that existed between the masters, their workshops, the patrons and their public. It therefore encompasses a particularly large geographical area (the Crown of Aragon), Occitania, Italy and the Western Mediterranean), due to the relevant historical and artistic relationships between the former Catalan counties with different areas of the Mediterranean, and their situation as a crossroads for many pilgrims.

For the first time in the Medieval Spanish Art History and in a field so distinguished and susceptible to foreign influence, research will be focused on the characteristics of each discipline relating to their production, commission and consumption.

If the latest interdisciplinary studies are taken into account, it is possible to start tracing the origins and paths of the different “artisans” (painters, sculptors, architects, goldsmiths and embroiders), as well as the interests, tastes and preferences of the different patrons (church, aristocracy and “bourgeoisie”), depending on the public or private use of these works.

As Catalonia is a privileged region for this particular study, the aim is to undertake the prominent topic of the itinerant Romanesque masters (the Comacini, the Lombard painters, the Master of Cabestany) from a completely new perspective.

Furthermore and of additional interest is the presence of well-documented foreign artists who were active during the Gothic period (Lupo di Francesco, Aloi de Montbrai, Reinard des Fonoll, Jean de Tournai, the Master of Estopanyà, Hispano-Flemish painters, Pisanello) as well as the problematic interpretation of the artist’s signature in relation to their workshop (Arnau Cadell, Magister Alexander, Iohannes, R. De Via, the Serra Brothers, etc.). This study will be complemented with a systematic analysis of the patron, its type and evolution, in order to edit the very first patronage prosopography from Catalonia, which will also include reactions and attitudes of the audience towards the artwork.

To ensure the development and the appropriate conclusion of the project the interdisciplinary and international team responsible for the research includes: 7 PhD, 4 museum technicians, 1 person in formation and 4 PhD candidate (three as collaborators). The group includes experienced art historians, museum curators (almost all are also PhD candidates) and geologists, with extensive experience in the latest techniques for artwork material analysis and also in the Social History of Art (patronage, social condition, reception and taste).

ARTS (Open Access Journal), 2022

We would like to cordially invite you to publish research articles in our Special Issue entitl... more We would like to cordially invite you to publish research articles in our Special Issue entitled "Byzantium and the Mediterranean (11th-13th c.): Multiculturalism, Gender and Profane Topics in illuminated manuscripts " (Open Access Journal ARTS, 2022).

We invite articles concerning this topic, especially those regarding gender roles, the depiction of Otherness, the use and meaning of profane repertoires in manuscripts and their spreading and impact on other visual arts.Proposals for papers of up to max 15.000 words in length should be sent to the guest editors, Manuel Castiñeiras, on manuel.castineiras@uab.cat, and Carles Sánchez Márquez, on carlos.sanchez.marquez@uab.cat, by 31 October, 2022. Papers should be in English.

https://www.mdpi.com/journal/arts/special_issues/Byzantium_Mediterranean

ARTS Special Issue, 2019

Dear Colleagues, The immediate objects of our study are a series of wall paintings that derive fr... more Dear Colleagues, The immediate objects of our study are a series of wall paintings that derive from a very specific cultural and artistic encounter between the West and Byzantium from the 6th to 15th centuries. In every case, the precise nature of this agency and the different levels at which interchange operated should be defined. Sometimes, this entails the appropriation of a specific style or an iconographic topic for a use in a different context. The goal of this appropriation can take many forms, such as prestige, the fascination for the other or even the assumption of new identities. At other times, it is about the creation of pictorial hybrids to promote cultural fusion between Latins and Greeks. In most of these examples, either patrons or artists had to experience a process of shifting identities, in which the individual replicates in himself behaviors, tastes or skills of another (alien to his culture) in order to identify himself with the other.
To propose a paper for publication, please send a title and short abstract to the Guest Editor, Manuel Castiñeiras, on manuel.castineiras@uab.cat, with copy to arts@mdpi.com by 5 February 2019. Full manuscripts of up to max 15,000 words in length should be
submitted by 21 June 2019."

El Museu Nacional acull la segona edició dels Incontri Mediterranei (Trobades Mediterrànies), la ... more El Museu Nacional acull la segona edició dels Incontri Mediterranei (Trobades Mediterrànies), la primera edició de la qual es va portar a terme a Roma l’any 2019. Es tracta d’un ambiciós congrés internacional sobre art medieval que neix de l’estreta col·laboració entre el Museu Nacional d’Art de Catalunya, la Sapienza Università di Roma i el Grup de Recerca Consolidat Magistri Catalonaie & Mediterranei de la Universitat Autònoma de Barcelona,

L´objectiu d´aquest congrés serà analitzar com era la distribució d´imatges en una església pintada i la percepció original de l´espai en aquests conjunts des dels seus orígens fins al segle XIII. Volem centrar-nos en el tema de l’arrancament de pintures murals medievals (o mosaics parietals) i les estratègies que s’han dut a terme a museus i llocs originals per ajudar l’espectador a recrear l’experiència primigènia d’aquests conjunts. El congrés abordarà els cicles de pintura mural medieval i del mosaic parietal a tota la Mediterrània des dels segles IV al XIII (Terra Santa, Egipte, Xipre, Grècia, Itàlia, França i Península Ibèrica).

Comitè científic: Manuel Castiñeiras (Universitat Autònoma de Barcelona-SGR Magistri Cataloniae & Mediterranei), Jordi Camps (Museu Nacional d’Art de Catalunya-SGR Magistri Cataloniae & Mediterranei), Anna Maria D’Achille (Sapienza Università di Roma) Antonio Iacobini (Sapienza Università di Roma) Marina Righetti (Sapienza Università di Roma)

Llocs i Dates: Museu Nacional d’Art de Catalunya i Vall de Boí, del 13-15 de setembre de 2023.

Les inscripcions s’obriran el 15 de juny: congres.romanic@museunacional.cat

CALL OF PAPERS Byzantium and the Mediterranean (11th-13th c.): Multiculturalism, Gender, and Prof... more CALL OF PAPERS
Byzantium and the Mediterranean (11th-13th c.): Multiculturalism, Gender, and Profane Topics in Illuminated Manuscripts
I International Seminar MABILUS.
Universitat Autònoma de Barcelona, Facultat de Filosofia i Lletres
11 th November 2022
Coor. Manuel Castiñeiras (UAB), Carles Sánchez Márquez (UAB), Giulia Arcidiacono (Università di Catania)
We invite you to submit a paper proposal (including a 120-word abstract) to manuel.castineiras@uab.cat, by Monday, July 4, 2002. Proposals in Spanish, Catalan, Italian, English and French are welcomed.
Organized by: Manuscritos bizantinos iluminados en España: obra, contexto y materialidad – MABILUS (MICINN-PID2020-120067GB-I00).

Imagining Pilgrimage to Santiago: Itineraries, Narratives, Myths, 2020

In collaboration with the government of Galicia, the Institute of Fine Arts is helping to inaugur... more In collaboration with the government of Galicia, the Institute of Fine Arts is helping to inaugurate yearlong activities for “Xacobeo 2021,” the Jacobean holy year. Papers for “Imagining Pilgrimage to Santiago: Itineraries, Narratives, Myths” will address the confrontation of real and imagined pilgrimage — visionary and eschatological implications of spiritual travel, spatial and material agency, phenomenological and sensorial markers, landscape and cartographic geographies of pilgrimage, among others. Speakers include: Kathryn Brush, Thomas Deswarte, James D’Emilio, Elvira Fidalgo, Elina Gertsman, Melanie Hanan, Patrick Henriet, Dominique Iogna-Prat, F. López Alsina, Wendy Pullan, Rocio Sánchez Ameijeiras, Alison Stones, Stefan Trinks, Michele Vescovi, Rose Walker.

There is no registration per se, but seats must be reserved in advance. Reservations may be made on the IFA website closer to the date.

https://www.nyu.edu/gsas/dept/fineart/events/index.htm

A detailed program is pending, but for further information, please contact the organizers R. Maxwell (The Institute of Fine Arts:robert.maxwell@nyu.edu) and M. Castiñeiras (Univ. Autònoma Barcelona: Manuel.Castineiras@uab.cat)

The Autonomous University of Barcelona is collaborating with the Sapienza University of Rome and ... more The Autonomous University of Barcelona is collaborating with the Sapienza University of Rome and the Real Academia de España en Roma to stage an International Conference concerned with artistic exchange in the Mediterranean between the sack of Constantinople in 1204 and the fall of Byzantine Thessaloniki in 1430. It will focus on subject matters and case-studies that best testify to the encounter and/or clash between Latin, Byzantine and Islamic culture between 13th and 15th centuries. Main topics include: the mobility of artists and patrons; the meaning of gifts; the prestige of certain artistic forms; cross-cultural travel and pilgrimage and Mediterranean fascination with Byzantine Constantinople. The geographical areas that we will look at go from the Kingdom of Aragon to the Holy Land, encompassing Sicily, the maritime republics of Genoa and Venice, the Latin dominions in Greece, Cyprus, the empire of the Palaiologoi, Epirus, Cilicia, the Ayyubid and Malmuk Egypt, and the Islamic powers in Anatolia.

18th Conference on Byzantine Studies, 2019

The Research Project MICINN HAR2015-6388-P Mobility and Artistic Transfer in the Medieval Mediter... more The Research Project MICINN HAR2015-6388-P Mobility and Artistic Transfer in the Medieval Mediterranean: artists, objects and models (1197-1388)-Magistri Mediterranei is collaborating with the Sociedad Española de Bizantinística in the organization of the 18th Conference on Byzantine Studies.

La caiguda de Jerusalem en 1187 i la pèrdua d’Atenes pels catalans en 1388 marquen dos segles con... more La caiguda de Jerusalem en 1187 i la pèrdua d’Atenes pels catalans en 1388 marquen dos segles convulsos de moviment i expansió dels diferents estats llatins del Mediterrani que propiciaren com mai la mobilitat i transferència artística entre llatins, grecs, musulmans i cristians orientals. Tant la “protecció” i la peregrinació als Llocs Sants com la creació de noves rutes d’expansió militar i comercial portaren la Corona Catalano- Aragonesa a ciutats com Venècia, Pisa o Gènova, a afavorir diferents processos d’apropiació del sagrat, a l’adquisició de botins de guerra, o a l’intercanvi de regals de significaciópolítico-dinàsticaodiplomàtica.
Es tracta d’un intercanvi que va en dues direccions, i que propicià interesants processos d’aculturació i introjecció artística fins ara no suficientment explorats per la historiografia i que han de ser entesos dins del paradigma d’una Global Middle Ages.

The aim of the II International Meeting Magistri Cataloniae: ART AND CEREMONY in the Latin West a... more The aim of the II International Meeting Magistri Cataloniae: ART AND CEREMONY in the Latin West and the Byzantine East, is to explore the relationship between civil and religious ceremonies and the art and architecture of both Western and Byzantine traditions over the long centuries since the earliest Christian worship to the Late Middle Ages.

Ceremonies epitomize the vision, creed, dogma, doctrine, and cult of Latin and Eastern Orthodox Christian Churches. Yet, the performance of these rituals has to be placed within the broader context of the development of liturgy. Nonetheless, it is the goal of this meeting not to focus on liturgy per se but to address the ritual and symbolic aspects involved in cult within the execution of liturgy. Hence, the meeting will explore the complexity and growth of liturgical richness by reason of the accretion of thousands of ritual and ceremonial changes not only across the whole Europe but also within the Byzantine milieu. On the other hand, changes in the ceremonial practices within the court culture of the various Reigns and Empires in the Latin West and the Byzantine East during the Middle Ages were often dictated by factors such as local usages, the reinterpretation of political principles, increases in the realm's wealth, the growth of new standards, and the reform of religious doctrines.

Further to the main purposes of this meeting, papers will address two diverse issues: the reinforcement of ritual practices through imagery and the way how these drastically reformations of liturgy and civil observances as well as fashion changes often resulted in the modification of architectural arrangements and ceremonial furnishings.

A través de este simposio se pretende reactivar, desde el Departament d'Art i Musicologia de la U... more A través de este simposio se pretende reactivar, desde el Departament d'Art i Musicologia de la Universitat Autònoma de Barcelona, el interés de la historiografía francesa en las primeras fases de la Catedral de Santiago y facilitar el intercambio de ideas entre investigadores catalanes, españoles y franceses. La Jornada estará dirigida a los estudiantes de la asignatura Románico Hispánico del Grado de Historia del Arte así como a alumnos de Master, doctorandos, investigadores y público en general, con el objeto de suscitar su interés en el Camino de Santiago y la investigación jacobea. La actividad es gratuita y está enteramente financiada por el Xacobeo de la Xunta de Galicia. Se requiere inscripción previa en: veronicacarla.abenza@uab.cat. Se dará también certificado de asistencia.

The team of the Research Project Magistri Cataloniae is delighted to invite you to attend the Int... more The team of the Research Project Magistri Cataloniae is delighted to invite you to attend the International Symposium “Artista anònim, artista amb signatura. Identitat, estatus i rol de l’artista en l’art medieval”, that will be held on 7-8 November 2014 at the Facultat de Filosofia i Lletres de la Universitat Autònoma de Barcelona and the Museu Episcopal de Vic.
This Symposium has been organized by the Research Project “Artistas, patronos y público. Cataluña y el Mediterráneo. Siglos XI-XV. MAGISTRI CATALONIAE” (MICINN HAR2011-23015) of the Universitat Autònoma de Barcelona and the Museu Episcopal de Vic, with the collaboration of the Facultat de Filosofia i Lletres of the UAB.
Registration payment is still unavailable. In order to book a place, fill in the form. Registration will take effect only after the payment.
For further information on the Symposium and registration please consult the website: www.simposi-magistricataloniae.org
We are looking forward to your attendance.
Manuel Castiñeiras (Scientific dir.)
Verónica Abenza, Carme Comas and Carles Sánchez (coord.) www.magistricataloniae.org

Journée d'étude destinée à discuter la datation de la construction et du décor de l'abbatiale afi... more Journée d'étude destinée à discuter la datation de la construction et du décor de l'abbatiale afin de reconsidérer son rôle comme modèle d'art roman.

La catedral de Santiago de Compostela y Francia (1075-1122): Intercambio, Memoria y Confluencia A... more La catedral de Santiago de Compostela y Francia (1075-1122): Intercambio, Memoria y Confluencia Artística

El auge de las peregrinaciones a Santiago a finales del siglo XI coincide plenamente con la Prime... more El auge de las peregrinaciones a Santiago a finales del siglo XI coincide plenamente con la Primera Cruzada y la aparición del culto a san Nicolás en Bari. Compostela, Jerusalén y Bari, en su condición de ciudades de llegada y partida de peregrinos, se convierten en centros privilegiados de un nuevo estilo internacional, el Románico, que ofrece a los peregrinos una nueva cultura figurativa adaptada a sus vicisitudes.

Tras el éxito del I Coloquio El Camino de Santiago y el arte medieval (La catedral de Santiago de Compostela y Francia (1075-1122): Intercambio, memoria y confluencia artística), celebrado el pasado 22 de abril del 2015 en la Universidad Autónoma de Barcelona, proponemos llevar a cabo una mayor internacionalización del coloquio mediante la celebración de una jornada monográfica dedicada al estudio de la peregrinación circular entre Compostela, Bari y Jerusalén. Temas como el intercambio, la dedicación de capillas, la construcción de hospitales, las reliquias, los símbolos de peregrinación – la concha de Santiago- o los sujetos iconográficos (san Nicolás de Bari) serán analizados y estudiados en el coloquio. Para ello se cuenta con la participación de consagrados especialistas en las peregrinaciones a Santiago y Tierra Santa (Manuel Castiñeiras, UAB), en la Jerusalén cruzada (Avital Heyman, Independent Scholar); en las reminiscencias del Santo Sepulcro en los reinos hispanos (Eduardo Carrero, UAB); en el culto de Santiago en Cataluña (Anna Orriols, UAB), así como la difusión del culto a san Nicolás en el Mediterráneo (Rosana Biano,Università degli Studi di Bari, y Carles Sánches (UAB). El coloquio concluirá con una mesa redonda dedicada a la Actualidad del Camino de Santiago: entre patrimonio mundial y experiencia local, con la participación del Xerente del Xacobeo, Rafael Sánchez, el Prof. Jordi Tresserras de la Univeristat de Barcelona, Ferran Lloret (Amics del Camí de Sant Jaume de Sabadell) i Celina Llarás (Escola Massana).

Este coloquio, organizado por la Universidad Autónoma de Barcelona en colaboración con el Xacobeo de la Xunta de Galicia, está dirigido a estudiantes de grado y postgrado de la UAB, personal docente e investigador del centro y otras universidades estatales, miembros de instituciones museísticas y vinculadas con el Patrimonio, así como al público en general interesado en el objeto de estudio. Todos los participantes contaran con certificado de asistencia y recibirán una carpeta de documentación con las actividades llevadas a cabo por el Xacobeo.

Programa:

9.30-10.15: Manuel Castiñeiras, Universitat Autònoma de Barcelona
Cruces en Compostela, Vieiras en Belén, y el Cristo jacobeo en Silos: peregrinación, competencia y afirmación

10.15-11.00: Avital Heyman, Independent Scholar
Entre cielo y Tierra Santa: el itinerario terrestre del peregrino cruzado en la época de la reina Melisenda de Jerusalén

11.00-11.30 Pausa-café

11.30-12.15: Eduardo Carrero, Universitat Autònoma de Barcelona
Evocaciones del Santo Sepulcro en el Camino de Santiago

12.15-13.00: Anna Orriols, Universitat Autònoma de Barcelona
La llegenda de sant Jaume en dos cicles pictòrics catalans: la Seu d'Urgell i Frontanyà

14.00-15.30 Pausa Comida

15.30-16.15 Rosanna Bianco, Università degli Studi di Bari, Itàlia
La Puglia nel camino de Santiago. Culto e iconografia di San Giacomo lungo i percorsi di pellegrinaggio

16.15-17.00: Carlos Sánchez, Universitat Autònoma de Barcelona
El culto a San Nicolás en el Mediterráneo Occidental: hospitales, ciclos hagiográficos y peregrinación.

17.00-17.30 Pausa-Café

17.30-18.30 Mesa redonda: Actualidad del Camino de Santiago: entre patrimonio mundial y experiencia local

Moderador: Manuel Castiñeiras
Participan: Rafael Sánchez (Xerente del Xacobeo), Jordi Tresserras (Universitat de Barcelona), Carme Marsal (Presidenta de l’Associació del Camí de Sant Jaume de Sabadell).

I JORNADA INTERNACIONAL MAGISTRI MEDITERRANEI Global Middle Ages Hibridación artística e intercam... more I JORNADA INTERNACIONAL MAGISTRI MEDITERRANEI
Global Middle Ages
Hibridación artística e intercambio en el Mediterráneo medieval
Universitat Autònoma de Barcelona, 28 d'abril de 2016. Sala de Graus Facultat de Filosofia i Lletres

La Catedral de los Caminos. Estudios sobre Arte de Historia, 2020

Xunta de Galicia-S.A. de Xestión do Plan Xacobeo, 2010

La restauración monumental realizada en Galicia durante épocas pasadas cuenta con escasos estudio... more La restauración monumental realizada en Galicia durante épocas pasadas cuenta con escasos estudios que, de manera panorámica o pormenorizada, expliquen las transformaciones, las permanencias y las pérdidas ocurridas en su Patrimonio Cultural. Esta falta de atención resulta paradójica si se tiene en cuenta que, entre 1950 y 1985, Galicia se convierte en la tercera región española con mayor número de proyectos e intervenciones de restauración ejecutadas, vinculadas, en su mayoría, con el fenómeno jacobeo.
Con este trabajo nos proponemos demostrar el importante papel de la restauración monumental en el proceso de revitalización del Camino de Santiago, producido durante un período que coincide mayoritariamente con la dictadura del general Franco (1939-1975). El análisis conjunto de las intervenciones proyectadas por el arquitecto Francisco Pons-Sorolla, sobre monumentos y lugares jacobeos, durante los cuarenta años de su carrera profesional (1945-1985), impulsa la patrimonialización que del mismo se produce al declararse Conjunto Histórico Artístico en el año 1962 (Decreto 2224/1962) y, al mismo tiempo, ofrece la posibilidad de establecer el panorama de los intereses culturales y turísticos de la época.

J. Martínez de Aguirre, “M. Castiñeiras, Compostela y Europa. La historia de Diego Gelmírez, Skira, Milán, 2010, 430 pp.”, Ad Limina. Revista de Investigació del Camino de Santiago y las Peregrinaciones, II, 2011, pp. 241-246