Pedro de Villegas Marmolejo (1519-1596): nuevas obras y documentos

Obtaining noninvasive stratigraphic details of panel paintings using terahertz time domain spectroscopy imaging system

In this paper, a long-term monitoring experience on a panel painting, carried out using a whole set of analytical tools before the scheduled conservation intervention, is described. The object under analysis is a painting of the XVI century, “The daughters of the Emperor Ferdinand I” by Jakob Seisenegger, painted around 1534 and preserved in the storerooms of the Superintendency of the Trento Province and of pertinence of the Buonconsiglio Castle. The wooden support is built using many narrow planks of pear wood; some degradation evidences are visible, caused by insects and by the previous storing conditions. Old strong conservation interventions, when the present battened crosspieces structure was applied, have induced the non-optimal state of conservation as well. The panel painting has been monitored for some years in its storeroom, climatically uncontrolled for most of the time, using: displacement transducers, put in different positions, relevant from the structural point of view; microclimatic monitoring (temperature and relative humidity); mass variation monitoring, using an innovative differential scale able to measure the response of the panel to the fluctuations with an otherwise impossible resolution. The monitoring provided the experimental hygro-mechanical tendencies of the painting as a contribution in the design phase of the new crosspieces that will be applied to the panel and for the definition of the acceptable variations of the microclimate in the exhibiting site. The experimental data, coupled with a FEM modelling approach, allowed the characterisation of the individual response of the panel to fluctuations taking into account partial hysteresis. This research has been performed in collaboration with the Superintendency of the Autonomous Province of Trento.

Memorializing the Middle Classes in Medieval and Renaissance Europe

Memorializing the Middle Classes in Medieval and Renaissance Europe

Študija je posvečena zanimivemu primeru recepcije specifične grafične predloge na Slovenskem v času protireformacije. V Srednji Evropi izjemno priljubljeni bakrorez s Poslednjo sodbo, ki ga je ok. leta 1590 izdelal Jan Sadeler st., je v tej regiji, kot kaže, dobil še posebne religiozne in politične konotacije. Grafični list reproducira danes izgubljeno sliko münchenskega slikarja Christopha Schwarza, nastalo v 80. letih 16. stoletja za vojvodinjo Renato Lotarinško, soprogo bavarskega vojvode Vilijema V. Slika je nastala pod občutnim vplivom Michelangelove Poslednje sodbe v Sikstinski kapeli. Prve kopije in reflekse po grafiki lahko najdemo na graškem dvoru in v njegovem tesnem krogu – slovenske dežele so bile v tem obdobju namreč del posebne politične tvorbe, imenovane Notranja Avstrija, s prestolnico v Gradcu. Dva slovenska primera lahko interpretiramo kot znak zvestobe vladajoči habsburški dinastiji, ki je imela tesne politične, religiozne in družinske vezi z münchenskim dvorom. Najpomembnejši primer najdemo v t. i. Lutrovski kleti v Sevnici, ki je bila najverjetneje v prvih dveh desetletjih 17. stoletja poslikana po naročilu Inocenca barona Moscona, pomembnega štajerskega plemiča in svetovalca nadvojvode Ferdinanda III. Drugi primer lahko sicer manj oprijemljivo povežemo z eno vodilnih lokalnih figur protireformacije, ljubljanskim škofom Tomažem Hrenom: poslikavo v župnijski cerkvi v Gradu nad Starim trgom pri Slovenj Gradcu, mogoče iz prve tretjine stoletja. S to grafiko lahko povežemo še dva zanimiva primera, vendar pri njiju ne moremo govoriti o tako močnih političnih konotacijah. Samo nekaj detajlov z grafike je bilo kopiranih na Poslednji sodbi iz ok. leta 1630 v župnijski cerkvi v Ormožu, prav tako pa tudi na tabelni sliki v romarski cerkvi Device Marije v Puščavi na Pohorju s konca stoletja, kjer lahko najdemo celo samostojen naslon na Michelangelovo sikstinsko fresko.

In the Institute of Nuclear Chemistry and Technology in Warsaw in collaboration with the Department of Preservation and Restoration of Works of Art of the Academy of Fine Arts in Cracow and National Museum in Warsaw systematic studies using nuclear methods, particulary instrumental neutron activation analysis and X-ray fluorescence analysis, have been carried out on the panel paintings from the Krakowska- Nowosadecka School and Silesian School of the period from the XIV–XVII century, Chinese and Thai porcelains and mummies fillings of Egyptian sarcophagi. These studies will provide new data to the existing data base, will permit to compare materials used by various schools and individual artists.

This work describes the experimental evidence of the deformation induced on a XVI century panel painting by climate uncontrolled fluctuations and on structural replicas under controlled laboratory conditions. The objects under measurement have a very thin wooden support (6 mm), caused by thinning and cradling of the original artefact during a restoration made at the beginning of the XX century. This kind of artefacts are very susceptible to suffer mechanical damage. The data of experiments carried out on the panel and in laboratory conditions show a characteristic behavior, similar to bimetallic strip warp and an interaction between hygroscopic asymmetry and mechanical asymmetry, inducing a peculiar stress dynamic in the interface wood-paint layer during climate fluctuations. In collaboration with the conservators involved in the restoration process, the effect of buffer hygroscopic systems on the warping has been studied.

En este trabajo se revisan varios de los referentes literarios, especialmente del siglo XVI, que pudieron servir como modelos para el entremés El juez de los divorcios de Miguel de Cervantes. Entre los primeros antecedentes teatrales de importancia se encuentran la Farsa de la Costanza, de Cristóbal de Castillejo, y algunas piezas de Lope de Rueda, además de pasajes breves en otras obras en las que vemos la representación cómica de peleas conyugales. Sin embargo, la prosa también tendrá un papel muy importante en varios de los motivos que se ven en la pieza cervantina, como la sátira del matrimonio y principalmente la descripción de la malcasada furiosa, como se observa en el Arcipreste de Talavera o en la obra de fray Antonio de Guevara y Pedro de Luján. En tiempos de Cervantes, estos temas se vuelven a retomar en el Entremés de los huevos, El triunfo de los coches de Gaspar de Barrionuevo o Los malcasados de Valencia de Guillén de Castro; y después de la publicación del entremés cervantino, en El descasamentero de Salas Barbadillo o el anónimo Hospital de los malcasados. Con este análisis se observan mejor varios de los elementos literarios que Cervantes imita de la tradición anterior, y queda de manifiesto el carácter esencialmente cómico de la pieza.

The aim of these article is to present the more important rules of Jewish exegesis developed mainly by Hillel on the example of a commentary on the Song of the Songsof Abraham Ibn Ezra and Luis de León. The text tries to show how traditional Jewishhermeneutics is used in the innovative commentaries of a scholar from Tudela from the XIth century and a theologian from Belmonte from the XVIth century and how the first infl uenced the second. Interpretative methods developed in the most important centers of Judaic thought of the beginning of our era have been used for centuries to explain biblical texts, especially such as Song of Songs, which is recognized by both Old Testament and New Testament commentators as one of the most diffi cult and most mystical Scriptures.

The Sweet Harmony of Luis de León's<i>La perfecta casada</i>

Reviewed by: Colonial al-Andalus: Spain and the Making of Modern Moroccan Culture by Eric Calderwood Claudia Hopkins Calderwood, Eric. Colonial al-Andalus: Spain and the Making of Modern Moroccan Culture. Harvard UP, 2018. 408 pp. Spanish-Moroccan cultural relations are exceedingly complex. They cannot be understood through the well-worn notion of the exotic "Other" against which the West defines itself, and with which we have become familiar since Edward Said's classic analysis of French and British discourses on the Islamic world in his seminal book Orientalism (1978). In his 2002 prologue of a later Spanish edition, Said himself recognized that Spain offered a "notable exception" to his theory, an insight based on his increasing awareness of Spanish historiography on North Africa and his dialogue with the Spanish historian Juan Goytisolo. Said did not pursue the Spanish case. But the growing Spanish and international scholarship exploring Spanish representations of al-Andalus and Morocco during the nineteenth and twentieth centuries has exposed the brittleness of Said's paradigm based on binaries between East-West and Islam-Christianity. Eric Calderwood's Colonial al-Andalus: Spain and the Making of Modern Moroccan Culture makes a major contribution to this field of studies. It traces how the memory of medieval Iberia under Muslim rule (al-Andalus) was interpreted not only by Spaniards but also by Moroccans between the Spanish-Moroccan War (1859-60) and Moroccan independence in 1956. Calderwood reveals surprising intersections between Spanish and Moroccan discourses. The construct of an idealized al-Andalus is at the heart of Spanish colonial discourse, but the same myth also served the Moroccan independence movement and shaped Moroccan national identity. The originality and strength of Calderwood's approach resides in the juxtaposition of Spanish and Moroccan perspectives, which are examined through Castilian, Catalan, and Arabic sources, some of which have never been studied before. Organized chronologically and adopting a contextualizing approach, each of the seven chapters analyzes cultural representations of al-Andalus through a key figure, work or a set of concepts. [End Page 295] An appropriate starting point is Pedro de Alarcón's Diary of a Witness to the War of Africa, a well-known source relating to the Spanish-Moroccan War in 1859-60, which serves Calderwood's argument well in order to outline the fundamental ideas that would become essential for Spanish colonial discourse: Tetouan is a reincarnation of Nasrid Granada, Morocco a palimpsest of al-Andalus. While Alarcón's writings will be familiar to scholars of nineteenth-century Spain, the second chapter introduces the neglected writings of Alarcón's contemporary, the Tetouani poet Mufaddal Afaylal, a figure hardly known outside Morocco. Calderwood's analysis or "thick reading" demonstrates Afaylal's interest in Andalusi writers, whose texts he deploys to complement his own empirical observations of Moroccan cities and the Spanish enclave Ceuta. Furthermore, Afaylal reflects on the Spanish occupation of Morocco in 1860 through the lens of Andalusi poetry on the Christian conquest of al-Andalus. Yet, as Calderwood notes, Afaylal's writings do not yet amount to the "Andalus-centric" discourse that takes shape with the establishment of the Spanish Protectorate of Morocco in 1912. The third chapter turns to Spanish colonial thinking via Andalusian nationalism (Andalucismo) and its leading intellectual Blas Infante, who conflates the memory of al-Andalus, modern Andalusia, and Morocco. Al-Andalus emerges as the key to Infante's vision of a new independent, multicultural Andalusia, comprising both sides of the Strait of Gibraltar. He positively defines Andalusian people as "Euro-Africans, Euro-Orientals, universalist men" needing to be freed from "colonial influence of a foreign, barbarous, and failed continent, like Europe" (129). As Calderwood writes, Blas Infante's assertion "there are no foreigners in Andalusia" works to repudiate the motto "Catalonia for the Catalans" in Catalanism (129). Infante's ambitions came to a brutal end with his execution at the start of the Spanish Civil War, but his conceptual conflation of medieval al-Andalus with modern Morocco intensified in Spanish colonial rhetoric, which, in turn, found echoes in the writings of Moroccan intellectuals. The notion of a Hispano-Moroccan brotherhood translated into a range of policies and initiatives under Franco, including the...

Carlos Arniches represents an outstanding playwright of the early twentieth century in Spain. His works not only inherited the earlier tradition left by former playwrights, but also have his own unique innovations. The results of this kind of heritage retain the traditional beauty of theater creations; moreover, it underlies the most fundamental elements of drama. Carlos Arniches is a key figure in the Spanish theater history. The collection of sainetes Del Madrid castizo and the absurd tragicomedy masterpiece La senorita de Trevelez are two of the most typical and representative works of Arniches, which enable us to explore more about the author's creative style and features. The methodology of this thesis is based on the text analysis. By way of depict the development of drama in the history of Spanish literature and the text analysis to look into this author’s abundant dramatic works and his creative expression, as well as the efforts of applying the colloquial Spanish in the text. Through analyzing the contents of these works to point out the social criticism implied and insights emerged in the context. Thus, we get to know the reason Arniches occupies a pivotal position in the history of modern Spanish drama. In the introduction, in addition to the description of the sources of information and limitations, the motive, purpose, method, research background and scope are explained. The first chapter deals with an overview of the Spanish twentieth century drama (1900-1960), focused on Arniches and reveal the phenomenon on twentieth century drama. Starting from the sixteenth century, overall background of the literary tradition of theater is explained. The second chapter gives a brief explanation of the written language styles and examples of these two works. The third chapter is about the analysis of absurd tragicomedy: La senorita de Trevelez in which the figures and plays reflect Spanish social phenomenon at that time, and find out the expression which the author is trying to convey. Besides, this chapter also deals with the dramatic conflicts and figures. The final chapter analyzes two typical short comedies of Arniches, such as “La risa del pueblo” and “Los pobres”. In addition to dwell on the content and implications on the analysis, it also gives a detailed analysis on the style due to the special usage of the colloquial Spanish. In the conclusion, we sum up the essence of each chapter then in the appendix attached is the Chinese version translated from the above mentioned short pieces of popular comedies. I sincerely hope that my research can benefit the readers to know more about Carlos Arniches and his works, and I also expect to arouse interest of people to work on translating Spanish literary texts into Chinese and at the same time contributing a portion of the effort to benefit the researches of Spanish culture.

Lanzarote: The Landscape and the History Behind the Volcano

Wherever a variable speed gas compression train is needed for Oil & Gas upstream applications as well as for gas storage applications the primary decision has to be made between a gas turbine driver and an electric motor controlled by a variable frequency drive (VFD). A second decision has to be made between a high speed direct driven train and a low speed driver (gas turbine or motor) driving the compressor via a speed increasing gear. Finally it has to be decided whether a classical, oil lubricated train arrangement shall be used or if a high speed, oil-free, magnetic bearing levitated train configuration shall be chosen. With these three major decisions a variety of different train configurations are possible. They differ from each other in many technical aspects and therefore have strengths and weaknesses which can be rated in order to facilitate the evaluation of the optimum equipment configuration for a certain application. This paper specifically concentrates on the comparison of rotordynamic key figures like the logarithmic decrement (damping) of the lowest bending mode, the presence of overhung coupling modes within the speed range or the presence of torsional critical speeds which can be excited within the speed range and which therefore might adversely affect the integrity of the train components. The evaluated configurations include modern hermetically sealed, oil-free, magnetic bearing levitated compressor designs. Based on these key figures this paper will benchmark the rotordynamic

La nueva realidad de la Espana del siglo XVIII impuso un ajustado programa basado en la representacion, el control, y en general en la difusion de elementos conservadores o contrarreformistas, situacion que mas o menos vendria a ser similar en el resto de los estados catolicos. En el caso de Granada, la figura que bajo el talante moral y filantropico aunaria dichos elementos seria la de Pedro Pascasio de Ba1ios, caballero Veinticuatro y Director de las Reales Rentas Provinciales. Promotor de un sin fin de obras de corte tardobarroco, pronto se convertiria en uno de los principales garantes del arte y la cultura llegando a ser una de las figuras claves dentro del panorama social granadino.