Toledo Cathedral Research Articles

Toledo Cathedral MS Reservado 23: A Lost Manuscript Rediscovered

very historical discipline has its share of documents that once were known to scholars and used by them and then disappeared without leaving a hint as to their fate. We reconcile ourselves to the loss of such things when we know they have been destroyed but harbor the hope that those that vanished under unknown circumstances are only mislaid, not gone forever. And sometimes this hope is rewarded by the rediscovery of a missing item. This, happily, has been the case with a sumptuously decorated 16th-century choirbook belonging to the Cathedral of Toledo, Spain. This manuscript, previously unnumbered but now bearing the siglum MS Reservado 23, initially was brought to the attention of the musicological world in 1923 by Felipe Rubio Piqueras, then organist of the Toledan Cathedral, in his Musica y mtisicos toledanos' and then again in 1925 in his Codices polif6nicos toledanos, where he repeated verbatim his brief remarks of 1923.2 These consisted of a statement to the effect that the book

Toledo Cathedral MS Reservado 23: A Lost Manuscript Rediscovered

Toledo Cathedral MS Reservado 23: A Lost Manuscript Rediscovered

Generationes Abrahae: Reconquest Iconography in Leon

Previous articleNext article No AccessGenerationes Abrahae: Reconquest Iconography in LeonJohn WilliamsJohn Williams Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Gesta Volume 16, Number 21977 Sponsored by the International Center of Medieval Art Article DOIhttps://doi.org/10.2307/766726 Views: 6Total views on this site Citations: 6Citations are reported from Crossref Copyright 1977 International Center of Medieval ArtPDF download Crossref reports the following articles citing this article:Inés Monteira Visual Traits of Otherness: Figurative Resources Used in the Depiction of Muslims in Mediterranean Romanesque Sculpture, (Dec 2020): 81–97.https://doi.org/10.1007/978-3-030-53366-3_4Deeana Klepper Historicizing Allegory: The Jew as Hagar in Medieval Christian Text and Image, Church History 84, no.22 (May 2015): 308–344.https://doi.org/10.1017/S0009640715000086Pamela A. Patton Arts, Journal of Medieval Iberian Studies 5, no.22 (Sep 2013): 111–117.https://doi.org/10.1080/17546559.2013.820380 TOM NICKSON Reframing the Bible: Genesis and Exodus on Toledo Cathedral's Fourteenth-Century Choir Screen, Gesta 50, no.11 (Oct 2015): 71–89.https://doi.org/10.2307/41550549 John Williams Cluny and Spain, Gesta 27, no.1/21/2 (Oct 2015): 93–101.https://doi.org/10.2307/766997 Bibliography, (): 264–273.https://doi.org/10.7765/MMSO.52255.7.264

Narciso Tomé's "Transparente" in the Cathedral of Toledo (1721-1732)

IN the afternoon of 9 June 1732 D. Diego de Astorga y Cespedes, Cardinal Archbishop of Toledo and primate of Spain, solemnly exposed the Blessed Sacrament in the inner shrine of the new and magnificent Transparente of the cathedral of Toledo (Figs. I and 2). From that date on, this extraordinary structure, unique in character within the framework of Spanish architecture of the period, became the object of the most diverse evaluations, ranging from exorbitant praise to fierce personal detestation. Our purpose in taking a closer look at this much discussed but never fully studied work is twofold: first, it is to provide a more com-

Manet, Guéroult and Chrysippos

him unique among his Italian contemporaries of comparable or greater fame, yet he did belong with them, and perhaps even set an example for them, by virtue of his pointedly fine technique and his essays in what might be called la maniera grande alla maniera piccolissima. To Lomazzo's saying in so a y words that Clovio raised the art of miniature to the level of the art of painting, one might add that the art of painting, in Rome and Florence of the time, often nearly equaled the art of miniature in scale or in technical quality or both (. . . si pub dire che sia di minio veramente-the phrase would apply to a considerable number of paintings of the period). A rapprochement or even identity of Clovio's art of miniature with the art of painting was perhaps acknowledged also by El Greco, although his own paintings, large or small, could hardly be called miniature-like in their technique. For not only did he include Clovio's likeness among the four artists' portraits in the Minneapolis Purification of the Temple, but also, some thirty years later, when he painted a St. Luke for Toledo Cathedral,4 he may have rendered yet another special tribute to his friend. As one may expect, the evangelist-artist is discovered here with his book and with his painting of the Madonna; but the painting is not on canvas or panel, but on one of the vellum pages of the open book. Perhaps El Greco recalled his portrait of Clovio, shown holding out the Farnese Hours for all to see, when he chose, now, as no one else to my knowledge had done,4 to represent the patron saint of painters as a miniaturist.

The Organs in Toledo Cathedral: I. The Organ of Charles V

The Organs in Toledo Cathedral: I. The Organ of Charles V