A wall-painting programme of great quality dating from the late twelfth century is extant in the late eleventh-century lower chapel of the medieval tower located northeast of the apse of the abbey church of Moissac. It is possible that this area belonged to the hotel Sainte-Foy, which fourteenth-century texts called the aula of the abbot. On the west wall of the chapel, a Tree of Jesse stretches across the barrel vault. The prophets, originally twelve, complete the central image. They are connected to the Apostolic College associated with the Christ Pantocrator placed next to depiction of Christ’s lineage. Besides the semantic richness of each image, their association in the space of the chapel is particularly significant. The polysemic programme evokes not only the continuity between the Old and New Testaments, but also, especially, the reaffirmation of the dual nature of Christ in the liturgical space and the meaning of the Church of Christ. Upon their completion, the paintings of the chapel were the subject of particular attention: they were enriched with glass and metal cabochons, precious pigments, and gold, generating effects for the benefit of the viewers-actors who stood in this space. We will look into both the meaning of these images and the staging of the sacred in a place of private devotion that was reserved for the abbot and the prestigious guests of the abbey.
{"title":"Between Heavenly and Earthly Liturgy: The Paintings in the Chapel of the Abbey House of Moissac (end of the 12th Century)","authors":"Cécile Voyer","doi":"10.1344/SVMMA2016.7.10","DOIUrl":"https://doi.org/10.1344/SVMMA2016.7.10","url":null,"abstract":"A wall-painting programme of great quality dating from the late twelfth century is extant in the late eleventh-century lower chapel of the medieval tower located northeast of the apse of the abbey church of Moissac. It is possible that this area belonged to the hotel Sainte-Foy, which fourteenth-century texts called the aula of the abbot. On the west wall of the chapel, a Tree of Jesse stretches across the barrel vault. The prophets, originally twelve, complete the central image. They are connected to the Apostolic College associated with the Christ Pantocrator placed next to depiction of Christ’s lineage. Besides the semantic richness of each image, their association in the space of the chapel is particularly significant. The polysemic programme evokes not only the continuity between the Old and New Testaments, but also, especially, the reaffirmation of the dual nature of Christ in the liturgical space and the meaning of the Church of Christ. Upon their completion, the paintings of the chapel were the subject of particular attention: they were enriched with glass and metal cabochons, precious pigments, and gold, generating effects for the benefit of the viewers-actors who stood in this space. We will look into both the meaning of these images and the staging of the sacred in a place of private devotion that was reserved for the abbot and the prestigious guests of the abbey.","PeriodicalId":53184,"journal":{"name":"SVMMA","volume":"7 1","pages":"1-19"},"PeriodicalIF":0.0,"publicationDate":"2016-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66438287","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Dans la chapelle inferieure - construite a la fin du XIe siecle - de la tour medievale, situee au nord-est du chevet de l’eglise abbatiale de Moissac, a ete conserve un decor peint d’une grande qualite, datant de la fin du XIIe siecle. Il est possible que cet espace ait appartenu a l’hotel Sainte-Foy, designe par les textes du XIVe siecle comme l’aula de l’abbe. Sur le mur occidental de la chapelle est figure un arbre de Jesse qui s’etire sur la voute en berceau plein cintre. Des prophetes, initialement au nombre de douze, completent l’image centrale. Ils repondaient au college apostolique associe a la Maiestas Domini, juxtaposee a l’arbre de la lignee christique. Outre la richesse semantique de chacune des images, leur association dans l’espace de la chapelle est particulierement signifiante. Polysemique, le decor evoque non seulement la continuite entre l’Ancien et le Nouveau Testament, mais surtout la reaffirmation de la double nature du Christ dans l’espace liturgique et le sens de l’Eglise du Christ. Au moment de leur realisation, les peintures de la chapelle ont fait l’objet d’un soin particulier : des inclusions de cabochons en verre ou en metal, des pigments precieux et des apports d’or les enrichissaient, generant des effets sur les spectateurs-acteurs qui se tenaient dans cet espace. Nous nous interesserons donc a la signification de ces images, a la mise en scene du sacre dans un lieu de devotion privee, reserve a l’abbe et aux hotes de prestige accueillis dans l’abbaye.
{"title":"Entre liturgie céleste et liturgie terrestre: les peintures de la chapelle du logis abbatial de Moissac (fin du XIIe siècle)","authors":"C. Voyer","doi":"10.1344/svmma2016.7.2","DOIUrl":"https://doi.org/10.1344/svmma2016.7.2","url":null,"abstract":"Dans la chapelle inferieure - construite a la fin du XIe siecle - de la tour medievale, situee au nord-est du chevet de l’eglise abbatiale de Moissac, a ete conserve un decor peint d’une grande qualite, datant de la fin du XIIe siecle. Il est possible que cet espace ait appartenu a l’hotel Sainte-Foy, designe par les textes du XIVe siecle comme l’aula de l’abbe. Sur le mur occidental de la chapelle est figure un arbre de Jesse qui s’etire sur la voute en berceau plein cintre. Des prophetes, initialement au nombre de douze, completent l’image centrale. Ils repondaient au college apostolique associe a la Maiestas Domini, juxtaposee a l’arbre de la lignee christique. Outre la richesse semantique de chacune des images, leur association dans l’espace de la chapelle est particulierement signifiante. Polysemique, le decor evoque non seulement la continuite entre l’Ancien et le Nouveau Testament, mais surtout la reaffirmation de la double nature du Christ dans l’espace liturgique et le sens de l’Eglise du Christ. Au moment de leur realisation, les peintures de la chapelle ont fait l’objet d’un soin particulier : des inclusions de cabochons en verre ou en metal, des pigments precieux et des apports d’or les enrichissaient, generant des effets sur les spectateurs-acteurs qui se tenaient dans cet espace. Nous nous interesserons donc a la signification de ces images, a la mise en scene du sacre dans un lieu de devotion privee, reserve a l’abbe et aux hotes de prestige accueillis dans l’abbaye.","PeriodicalId":53184,"journal":{"name":"SVMMA","volume":"1 1","pages":"1-19"},"PeriodicalIF":0.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66438128","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Il manoscritto illustrato del Roman de Jaufre non e cosi semplice e infantile come si potrebbe pensare. E’ invece ben organizzato, con circa 250 scene illustrate per un totale di 110 carte. The illustrazioni sono sempre vicino ai versi che illustrano. Nella prima parte abbondano le avventure cavalleresche, rese nelle immagini attraverso uno stile realistico, vivace e cruento. Nella seconda parte invece, dopo il cambio di mano del copista, sono piu numerose le scene di corte, con banchetti e col matrimonio tra i due protagonisti. Nel primo foglio avevamo trovato un Cupido alato in atto di scagliare una freccia, mentre l’unica lettera abitata del codice rappresenta una donna, forse Brunissen, nel momento in cui avviene il fidanzamento. Il momento del matrimonio invece pare quasi una scena di incoronazione. Sappiamo che il romanzo era dedicato al re d’Aragona, e che, dalle evidenze codicologiche, stilistiche e testuali il manoscritto e datato alla seconda meta del Duecento. Per questo proporrei di cercare come contesto di produzione gli ambienti alti che circondano la corte di Pietro il Grande e Costanza di Sicilia.
{"title":"«Ni lla pora nuza baisar» amore fisico e ragionamenti d’amore nel manoscritto illustrato del Roman de Jaufre","authors":"Anna-Lisa Vitolo","doi":"10.1344/svmma2016.7.6","DOIUrl":"https://doi.org/10.1344/svmma2016.7.6","url":null,"abstract":"Il manoscritto illustrato del Roman de Jaufre non e cosi semplice e infantile come si potrebbe pensare. E’ invece ben organizzato, con circa 250 scene illustrate per un totale di 110 carte. The illustrazioni sono sempre vicino ai versi che illustrano. Nella prima parte abbondano le avventure cavalleresche, rese nelle immagini attraverso uno stile realistico, vivace e cruento. Nella seconda parte invece, dopo il cambio di mano del copista, sono piu numerose le scene di corte, con banchetti e col matrimonio tra i due protagonisti. Nel primo foglio avevamo trovato un Cupido alato in atto di scagliare una freccia, mentre l’unica lettera abitata del codice rappresenta una donna, forse Brunissen, nel momento in cui avviene il fidanzamento. Il momento del matrimonio invece pare quasi una scena di incoronazione. Sappiamo che il romanzo era dedicato al re d’Aragona, e che, dalle evidenze codicologiche, stilistiche e testuali il manoscritto e datato alla seconda meta del Duecento. Per questo proporrei di cercare come contesto di produzione gli ambienti alti che circondano la corte di Pietro il Grande e Costanza di Sicilia.","PeriodicalId":53184,"journal":{"name":"SVMMA","volume":"46 1","pages":"101-129"},"PeriodicalIF":0.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66438789","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
On the basis of iconographical studies and musical experiments, this paper aims to give an organological description of the necked plucked musical instruments that can be observed in Western medieval sources before the diffusion of the arabo-andalousian lute in 13th-century Europe. Underlining common traits with lutes represented in greek and roman iconography allows to draw an organological filiation between ancient and romanic lutes. Furthermore, the observation of the geographic distribution of the representations of lutes in the Early Middle Ages gives reason to reflect on the cultural relationships between the Carolingian and Byzantine empires in so far as they both could have encourage the diffusion of these not well-known instruments. Theses lutes also give information about their ties with the fiddles during the introduction of the bow and about its route to Europe.
{"title":"From Roman to Romanesque Lutes. An Archaeomusical Research on the History of Western Lutes Before the 13th Century.","authors":"O. Féraud","doi":"10.1344/svmma2016.8.12","DOIUrl":"https://doi.org/10.1344/svmma2016.8.12","url":null,"abstract":"On the basis of iconographical studies and musical experiments, this paper aims to give an organological description of the necked plucked musical instruments that can be observed in Western medieval sources before the diffusion of the arabo-andalousian lute in 13th-century Europe. Underlining common traits with lutes represented in greek and roman iconography allows to draw an organological filiation between ancient and romanic lutes. Furthermore, the observation of the geographic distribution of the representations of lutes in the Early Middle Ages gives reason to reflect on the cultural relationships between the Carolingian and Byzantine empires in so far as they both could have encourage the diffusion of these not well-known instruments. Theses lutes also give information about their ties with the fiddles during the introduction of the bow and about its route to Europe.","PeriodicalId":53184,"journal":{"name":"SVMMA","volume":"1 1","pages":"26-58"},"PeriodicalIF":0.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66438487","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Amb l’objectiu de millorar el nostre coneixement sobre el paper dels mercats en el proces de genesi i consolidacio del feudalisme, aquest treball analitza l’origen de la xarxa d’intercanvis desenvolupada al territori del Penedes entre els segles IX i XII. L’estudi integrat de fonts documentals, arqueologiques i territorials, i la utilitzacio dels Sistemes d’Informacio Geografica (GIS) en la representacio i analisi de les dades, permet acostar-nos al proces d’articulacio de la xarxa de mercats medieval. L’encontre comercial mes antic del Penedes feudal fou el de la Granada, celebrat sobre el tracat de la Via Augusta. A partir del segle XII la seva ascendencia va veure’s eclipsada per l’aparicio del mercat i fira de Vilafranca del Penedes, que ben aviat es convertira en el mercat mes important d’aquest territori. L’estudi de les motivacions politiques i economiques que ocasionaren aquest canvi de jerarquia ens ajuden a entendre la logica territorial i comercial del feudalisme. Assistim al proces de creacio d’una xarxa de mercats solida i ben articulada, liderada per Vilafranca de Penedes i reforcada, a partir del segle XIII, per la institucio de nous mercats i fires capacos d’abastir, amb el seu radi d’influencia, tot el territori penedesenc.
{"title":"Del «forum Granate» a la fira de Vilafranca. Origen, creació i articulació d’una xarxa de mercats al Penedès feudal (segles ix-xii)","authors":"M. Sala","doi":"10.1344/svmma2015.6.5","DOIUrl":"https://doi.org/10.1344/svmma2015.6.5","url":null,"abstract":"Amb l’objectiu de millorar el nostre coneixement sobre el paper dels mercats en el proces de genesi i consolidacio del feudalisme, aquest treball analitza l’origen de la xarxa d’intercanvis desenvolupada al territori del Penedes entre els segles IX i XII. L’estudi integrat de fonts documentals, arqueologiques i territorials, i la utilitzacio dels Sistemes d’Informacio Geografica (GIS) en la representacio i analisi de les dades, permet acostar-nos al proces d’articulacio de la xarxa de mercats medieval. L’encontre comercial mes antic del Penedes feudal fou el de la Granada, celebrat sobre el tracat de la Via Augusta. A partir del segle XII la seva ascendencia va veure’s eclipsada per l’aparicio del mercat i fira de Vilafranca del Penedes, que ben aviat es convertira en el mercat mes important d’aquest territori. L’estudi de les motivacions politiques i economiques que ocasionaren aquest canvi de jerarquia ens ajuden a entendre la logica territorial i comercial del feudalisme. Assistim al proces de creacio d’una xarxa de mercats solida i ben articulada, liderada per Vilafranca de Penedes i reforcada, a partir del segle XIII, per la institucio de nous mercats i fires capacos d’abastir, amb el seu radi d’influencia, tot el territori penedesenc.","PeriodicalId":53184,"journal":{"name":"SVMMA","volume":"45 1","pages":"67-86"},"PeriodicalIF":0.0,"publicationDate":"2015-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66438125","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The casket now in the Museum of the Cathedral of Girona is an unparalleled piece of silversmithing from the Caliphate of Cordoba. It is a unique object both because of the historical information it provides and due to its artistic value. It was commissioned by al-Ḥakam II as a gift for his son, the future Caliph Hisām II, and it can be dated to 976 or a little earlier. This essay offers for the first time the complete reading of its external dedicatory inscription, and it also includes an extensive historiographic review of the studies devoted to it. The names mentioned in the casket inscriptions are then discussed, as well as the date of its production and its possible use. The author raises some of the questions suggested by this object that need to be further researched, as its appearance in Girona in the 19th century without evidence about its provenance.
{"title":"La arqueta de Hišām: su epigrafía","authors":"Ana Labarta","doi":"10.1344/svmma2015.6.2","DOIUrl":"https://doi.org/10.1344/svmma2015.6.2","url":null,"abstract":"The casket now in the Museum of the Cathedral of Girona is an unparalleled piece of silversmithing from the Caliphate of Cordoba. It is a unique object both because of the historical information it provides and due to its artistic value. It was commissioned by al-Ḥakam II as a gift for his son, the future Caliph Hisām II, and it can be dated to 976 or a little earlier. This essay offers for the first time the complete reading of its external dedicatory inscription, and it also includes an extensive historiographic review of the studies devoted to it. The names mentioned in the casket inscriptions are then discussed, as well as the date of its production and its possible use. The author raises some of the questions suggested by this object that need to be further researched, as its appearance in Girona in the 19th century without evidence about its provenance.","PeriodicalId":53184,"journal":{"name":"SVMMA","volume":"1 1","pages":"1-24"},"PeriodicalIF":0.0,"publicationDate":"2015-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66438025","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The casket now in the Museum of the Cathedral of Girona is an unparalleled piece of silversmithing from the Caliphate of Cordoba. It is a unique object both because of the historical information it provides and due to its artistic value. It was commissioned by al-Ḥakam II as a gift for his son, the future Caliph Hisām II, and it can be dated to 976 or a little earlier. This essay offers for the first time the complete reading of its external dedicatory inscription, and it also includes an extensive historiographic review of the studies devoted to it. The names mentioned in the casket inscriptions are then discussed, as well as the date of its production and its possible use. The author raises some of the questions suggested by this object that need to be further researched, as its appearance in Girona in the 19th century without evidence about its provenance.
{"title":"The Casket of Hisham and its Epigraphy","authors":"A. Labarta","doi":"10.1344/svmma2015.6.10","DOIUrl":"https://doi.org/10.1344/svmma2015.6.10","url":null,"abstract":"The casket now in the Museum of the Cathedral of Girona is an unparalleled piece of silversmithing from the Caliphate of Cordoba. It is a unique object both because of the historical information it provides and due to its artistic value. It was commissioned by al-Ḥakam II as a gift for his son, the future Caliph Hisām II, and it can be dated to 976 or a little earlier. This essay offers for the first time the complete reading of its external dedicatory inscription, and it also includes an extensive historiographic review of the studies devoted to it. The names mentioned in the casket inscriptions are then discussed, as well as the date of its production and its possible use. The author raises some of the questions suggested by this object that need to be further researched, as its appearance in Girona in the 19th century without evidence about its provenance.","PeriodicalId":53184,"journal":{"name":"SVMMA","volume":"1 1","pages":"1-24"},"PeriodicalIF":0.0,"publicationDate":"2015-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66437777","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Les inscriptions dans le corpus de la peinture murale catalane sont tres nombreuses. Il constitue un vaste laboratoire d’etude pour comprendre comment l’inscription prend place dans le decor peint et comment les signes iconiques et alphabetiques interagissent a l’echelle du bâtiment, eventuellement dans la mise en scene du rituel liturgique. Cet article n’entend pas dresser le corpus complet des inscriptions peintes romanes de Catalogne ; il envisage plutot de comment les relations texte/image montrent une ecriture active pour produire du sens dans la dynamique generale de l’edifice (dynamique liturgique, communautaire, symbolique, etc.). En reposant la question de la « fonction » des inscriptions et en etudiant quelques inscriptions peintes, cette communication espere promouvoir une lecture plus fine des textes epigraphiques de la peinture catalane, plus respectueuse des relations originales qu’entretiennent, dans la creation artistique medievale, l’ecriture et l’image.
{"title":"Figures and Letters. A Methodological Remark on the Inscriptions in Catalan Romanesque Mural Paintings","authors":"Vincent Debiais","doi":"10.1344/svmma2015.6.12","DOIUrl":"https://doi.org/10.1344/svmma2015.6.12","url":null,"abstract":"Les inscriptions dans le corpus de la peinture murale catalane sont tres nombreuses. Il constitue un vaste laboratoire d’etude pour comprendre comment l’inscription prend place dans le decor peint et comment les signes iconiques et alphabetiques interagissent a l’echelle du bâtiment, eventuellement dans la mise en scene du rituel liturgique. Cet article n’entend pas dresser le corpus complet des inscriptions peintes romanes de Catalogne ; il envisage plutot de comment les relations texte/image montrent une ecriture active pour produire du sens dans la dynamique generale de l’edifice (dynamique liturgique, communautaire, symbolique, etc.). En reposant la question de la « fonction » des inscriptions et en etudiant quelques inscriptions peintes, cette communication espere promouvoir une lecture plus fine des textes epigraphiques de la peinture catalane, plus respectueuse des relations originales qu’entretiennent, dans la creation artistique medievale, l’ecriture et l’image.","PeriodicalId":53184,"journal":{"name":"SVMMA","volume":"1 1","pages":"48-66"},"PeriodicalIF":0.0,"publicationDate":"2015-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66437964","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
En este articulo se intenta ofrecer un panorama general de la produccion y distribucion de madera para construir que se llevo a cabo desde Tortosa durante epoca medieval y moderna, y se intenta demostrar que –junto a la ciudad de Valencia– la capital del Bajo Ebro fue un punto clave en la antigua Corona de Aragon
{"title":"‘Its Wood is Used to Construct Alfarjes for Royal Palaces’: Tortosa as a Centre for the Production and Distribution of Timber","authors":"Jacobo Vidal Franquet","doi":"10.1344/svmma2015.6.11","DOIUrl":"https://doi.org/10.1344/svmma2015.6.11","url":null,"abstract":"En este articulo se intenta ofrecer un panorama general de la produccion y distribucion de madera para construir que se llevo a cabo desde Tortosa durante epoca medieval y moderna, y se intenta demostrar que –junto a la ciudad de Valencia– la capital del Bajo Ebro fue un punto clave en la antigua Corona de Aragon","PeriodicalId":53184,"journal":{"name":"SVMMA","volume":"1 1","pages":"25-47"},"PeriodicalIF":0.0,"publicationDate":"2015-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66438328","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
L’article analitza el primer manual de Blanca de Llorach, abadessa del monestir benedicti de Sant Pere de les Puel·les de Barcelona. Es un llibre de comptes que recull tant els ingressos obtinguts per aquest cenobi com les despeses generades durant l’any 1373. Entre d’altres aspectes, es destaca l’estudi dels habits alimentaris i les feines viticoles realitzades pels temporers que treballaven a les vinyes del monestir
本文分析了Blanca de Llorach的第一本手册，该手册被巴塞罗那圣佩雷教堂的本笃会怪物所贬低。这是一本会计账簿，收集了这场大屠杀的收入和1373年的支出。除其他外，它强调了他们在葡萄园工作时对饮食习惯和葡萄酒工作的研究
{"title":"Els comptes de Blanca de Llorach, abadessa de Sant Pere de les Puel·les (1373)","authors":"Montserrat Richou i Llimona","doi":"10.1344/svmma2015.5.2","DOIUrl":"https://doi.org/10.1344/svmma2015.5.2","url":null,"abstract":"L’article analitza el primer manual de Blanca de Llorach, abadessa del monestir benedicti de Sant Pere de les Puel·les de Barcelona. Es un llibre de comptes que recull tant els ingressos obtinguts per aquest cenobi com les despeses generades durant l’any 1373. Entre d’altres aspectes, es destaca l’estudi dels habits alimentaris i les feines viticoles realitzades pels temporers que treballaven a les vinyes del monestir","PeriodicalId":53184,"journal":{"name":"SVMMA","volume":"1 1","pages":"1-23"},"PeriodicalIF":0.0,"publicationDate":"2015-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66437655","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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