Abstract
The present study deals with the first collection of views of the Mosque-Cathedral of Cordoba, included in Alexandre de Laborde’s huge work, Voyage pittoresque et historique de l’Espagne (volume II, 1812). Despite the fine quality of these original drawings and engravings of Cordoba, the collection has never been examined. Our analysis evaluates its reliability and its documentary contribution to knowledge of this singular edifice in Cordoba and all its architectural transformations. Following an overview of the biographical and historical context of both Laborde and his Voyage, the images are studied in groups according to their points of view: panoramas of the city, the first-known images of the patio, novel interior views, followed by a brief review of plans and details, in part copied from earlier ones.
Highlights
The present study deals with the first collection of views of the Mosque-Cathedral of Cordoba, included in Alexandre de Laborde’s huge work, Voyage pittoresque et historique de l’Espagne
Our analysis evaluates its reliability and its documentary contribution to knowledge of this singular edifice in Cordoba and all its architectural transformations
Following an overview of the biographical and historical context of both Laborde and his Voyage, the images are studied in groups according to their points of view: panoramas of the city, the first-known images of the patio, novel interior views, followed by a brief review of plans and details, in part copied from earlier ones
Summary
La presente investigación se dedica a la primera colección de vistas de la Mezquita-Catedral de Córdoba, incluidas en la monumental obra de Alexandre de Laborde, Voyage pittoresque et historique de l’Espagne (tomo II, 1812). El Voyage pittoresque et historique de l’Espagne (1806-1820) es una monumental obra gráfica que incluye en sus dos tomos (con dos partes cada uno) un total de 272 láminas o grabados, con vistas y planos resultantes del trabajo de un equipo de excelentes dibujantes dirigido y costeado por Alexandre de Laborde, también dibujante y redactor del texto. Respecto al tomo del Voyage con las vistas cordobesas, como era habitual en los viajes pintorescos por entonces editados, no podía faltar información sobre el estado de los caminos o vías de comunicación. Todos se han atribuido a Ligier porque su nombre figura en el correspondiente grabado, menos uno que parece de similar mano, dudosamente atribuido a Six. Hay dos vistas del patio, una
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