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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/

    The musical chapel of the Collegiate Church of Santa María la Mayor in Talavera de la Reina is a significant case of how an ecclesiastical institution articulates the musical life of a city: in this sense, it can be stated that the main musical activity in the aforementioned Toledan city has revolved around the chapel of the Collegiate Church from the first signs of musical activity until its disappearance in 1851. The function of the musical chapel of Santa María la Mayor expanded with the passing of time: in addition to its preponderant role in the celebration of the different religious celebrations in the Colegiata, its participation in religious and secular festivities in Talavera itself and in other cities cannot be overlooked, an activity which caused quite a few headaches for the ecclesiastical authorities and those in charge of the chapel itself. To this we must add the educational implications of the musical activity of a musical chapel in the organisation of an ecclesiastical institution at a time when one of the only possibilities of accessing quality musical training was to become a choirboy in a cathedral, collegiate monastery or parish church, where he would have the opportunity to study with the Chapel Master, the Organist or another prominent member of the chapel. For all these reasons, it is necessary not to forget the historical importance that centres such as collegiate churches or parish churches offer for a better understanding of our musical history. The recovery of the musical legacy and the knowledge of the historical role of this type of centre should be one of the priority objectives of Spanish musicology.

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    Part of book or chapter of book . 2016
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    Part of book or chapter of book . 2016
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    Part of book or chapter of book . 2016
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    Part of book or chapter of book . 2016
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    https://doi.org/10.17613/nd51-...
    Part of book or chapter of book . 2016
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      Part of book or chapter of book . 2016
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      Part of book or chapter of book . 2016
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      Part of book or chapter of book . 2016
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      https://doi.org/10.17613/nd51-...
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    Authors: Gianluigi Colalucci;

    On March 17, 2017, Gianluigi Colalucci presented his book entitled “Io e Michelan­gelo” at the Accademia Nazionale di San Luca. The volume was presented to the many people present by several personalities from the world of art history, such as Prof. Antonio Paolucci and Prof. Bruno Toscano, and from that of journalism, such as Nino Criscenti, who projected excerpts from the documentaries filmed on the scaffolding of the Sistine Chapel during the many years needed to complete the restoration, as well as reading excerpts from the book. The book’s theme is the story of the 14 long years and the memories that Colalucci has of the restoration of Michelangelo’s frescoes. From the first small cleaning test to the inaugural Mass that Pope John Paul II celebrated in the Chapel to solemnize the end of the restoration. The speakers emphasized the solitude and great responsibility of the restorer at the critical moments in the work, and the author recalled curious episodes and difficult mo­ments faced in cleaning Adam’s head in the Creation of man and Christ’s head in the Last Judgment, among the most exceptional ever painted. There were however also unpleasant moments from those who contested the restoration. Conservation Science in Cultural Heritage, Vol 18 (2018)

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    AMS Acta
    Article . 2018
    License: CC BY
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      AMS Acta
      Article . 2018
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  • Authors: Palanques, José;
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    Authors: Stalley, Roger;

    Interior view of chapel showing piscina, corbel and springing of vault ribs

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    Authors: Rae, Edwin;

    (handwritten on back of image): 66.109, Wellow (Som.): fresco: figures to right

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    The present study already announces in its title a very precise description of its subject. It is preceded by another, published in 2012 (La música en la Colegiata de Santa María la Mayor de Talavera de la Reina durante el siglo XVIII), in which the same author revealed the existence, until then little or not known, of an intense musical activity linked to the collegiate church and focused, even from several centuries ago, on a fully constituted chapel. The half century from 1800 to 1851 was a period of clear decline for the music chapel of the Collegiate Church of Talavera de la Reina, as for many others in Spain: a period marked by a general brutalisation, by unfortunate political events, economic crises and health problems that seriously affected musical life outside the court; marked, moreover, in the case of this Collegiate Church, by the devastating fire of 1846, which, among other things, destroyed the two organs and the choir stalls

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    ZENODO
    Book . 2022
    License: CC BY
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    Book . 2022
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      Book . 2022
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      Book . 2022
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    Authors: Ostaszewska-Nowicka, Joanna;
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    Authors: Roser, Sandrine;

    The chapel of Saint Hubert at Chauvirey-Le-Châtel. The chapel of Saint Hubert at the Chauvirey-Le-Châtel castle in the Haute-Saône department was built between about 1474 and 1484. The fortified castle belonged to Pierre de Haraucourt. The chapel was designed to house a relic, the hunting horn supposedly belonging to Saint Hubert and probably given by Charles the Bold of Burgundy. This relic, which became the object of an important local pilgrimage, was sold in 1872 and is today at the National Gallery in London. The Western parts of the two-storey chapel have disappeared. This chapel is one of a series of chapels influenced by the Sainte-Chapelle in Paris. Its architectural conception corresponds with the various functions of a castle chapel, at one and the same time a private building and a place of public pilgrimage. The lower chapel, simple and somewhat cramped, was intended for the servants and the soldiers, whilst the upper chapel, much larger and ornately decorated, was for the lord and his circle. To the north, a stair turret gave access to both levels. This element, usually only found in civil architecture, features in this religious building as a mark of the owner’s power. The Saint-Hubert chapel is an exceptional monument in the Franche-Comté region, remarkable for its architectural organisation Roser Sandrine. La chapelle Saint-Hubert à Chauvirey-Le-Châtel. In: Histoire de l'art, N°28, 1994. L’art et le sacré. pp. 27-36.

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    Histoire de l art
    Article . 1994 . Peer-reviewed
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      Histoire de l art
      Article . 1994 . Peer-reviewed
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    Authors: Wienberg, Jes;

    Report on the deserted medieval chapel of Gussnava in Scania, Sweden. The report is part of a never fullfiled plan of publishing short building archaeological reports on all the medieval churches of the two counties Ljunits and Herrestad at Ystad in Scania as part. The investigation was conducted as a part of the research project "The Cultural Landscape during 6000 years in Southern Sweden", also called the "Ystad project".

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    Authors: Waters, Geoff;

    One often reads in the literature that the simple drystone-built chapels on Islay date from the Norse period. This researcher always felt uncomfortable about that hypothesis, and this thesis explores the possibility that some of the chapels may be pre-Norse. A hypothesis is presented for the spread of Christianity in Ireland and across the North Channel to Islay. The traditional origins of the Scotti and recent conclusions regarding the gaelicisation of Argyll are examined to establish the likely degree of communication in the first millennium AD across the North Channel. A trade/communication route from the North of Ireland to Islay and onward to Knapdale, Mid Argyll and Iona is identified. The civil survey of Islay in the genealogical tract Míniugud Senchasa Fher nAlban is shown to be unreliable as an aid to the understanding of the settlement archaeology and political geography of Islay. An assumption is made that the lands bordering both sides of the North Channel formed a homogeneous Gaelic-speaking cultural region; justification for this is offered. An analysis of length to width (L/W) ratio for the corpus of drystone chapels in Ireland is presented. The L/W ratio is found to be an effective tool for the identification of early drystone-built churches. This is confirmed by a comparison of the L/W ratio of medieval mortared churches of approximately known date in Argyll with that of churches in the west of Scotland that are generally assumed to be early. Of the 27 chapels in Islay, 17 are classified according to L/W ratio value, entrance position, and orientation, and it is argued that a number are potentially pre-Norse. Four phases of chapels are identified. The locations of two small eremitic monastic sites are identified. These are used with the distribution of Early Christian carved stones and burial grounds to establish the extent of Early Christian activity on the island in the first millennium AD. The extent of the Norse settlement in Islay is discussed and arguments presented to support a proposal that this was a peaceful plantation rather than annihilation. A number of chapels are identified that may have been founded by the Norse, however it is suggested that the majority of the chapels date from the 12th century or later. Two new chapels were found during the course of fieldwork, and it is observed that leachta, - outdoor memorials often constructed on top of non-specific graves, and frequently used as pilgrimage stations in Ireland, are more common in Islay than often assumed. All chapels are fully described, together with some sites found during fieldwork that require further investigation to confirm their ecclesiastical use in the first millennium.

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    The musical chapel of the Collegiate Church of Santa María la Mayor in Talavera de la Reina is a significant case of how an ecclesiastical institution articulates the musical life of a city: in this sense, it can be stated that the main musical activity in the aforementioned Toledan city has revolved around the chapel of the Collegiate Church from the first signs of musical activity until its disappearance in 1851. The function of the musical chapel of Santa María la Mayor expanded with the passing of time: in addition to its preponderant role in the celebration of the different religious celebrations in the Colegiata, its participation in religious and secular festivities in Talavera itself and in other cities cannot be overlooked, an activity which caused quite a few headaches for the ecclesiastical authorities and those in charge of the chapel itself. To this we must add the educational implications of the musical activity of a musical chapel in the organisation of an ecclesiastical institution at a time when one of the only possibilities of accessing quality musical training was to become a choirboy in a cathedral, collegiate monastery or parish church, where he would have the opportunity to study with the Chapel Master, the Organist or another prominent member of the chapel. For all these reasons, it is necessary not to forget the historical importance that centres such as collegiate churches or parish churches offer for a better understanding of our musical history. The recovery of the musical legacy and the knowledge of the historical role of this type of centre should be one of the priority objectives of Spanish musicology.

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    Part of book or chapter of book . 2016
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    https://doi.org/10.17613/nd51-...
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    Authors: Gianluigi Colalucci;

    On March 17, 2017, Gianluigi Colalucci presented his book entitled “Io e Michelan­gelo” at the Accademia Nazionale di San Luca. The volume was presented to the many people present by several personalities from the world of art history, such as Prof. Antonio Paolucci and Prof. Bruno Toscano, and from that of journalism, such as Nino Criscenti, who projected excerpts from the documentaries filmed on the scaffolding of the Sistine Chapel during the many years needed to complete the restoration, as well as reading excerpts from the book. The book’s theme is the story of the 14 long years and the memories that Colalucci has of the restoration of Michelangelo’s frescoes. From the first small cleaning test to the inaugural Mass that Pope John Paul II celebrated in the Chapel to solemnize the end of the restoration. The speakers emphasized the solitude and great responsibility of the restorer at the critical moments in the work, and the author recalled curious episodes and difficult mo­ments faced in cleaning Adam’s head in the Creation of man and Christ’s head in the Last Judgment, among the most exceptional ever painted. There were however also unpleasant moments from those who contested the restoration. Conservation Science in Cultural Heritage, Vol 18 (2018)

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    AMS Acta
    Article . 2018
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      AMS Acta
      Article . 2018
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  • Authors: Palanques, José;
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    Authors: Stalley, Roger;

    Interior view of chapel showing piscina, corbel and springing of vault ribs

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    Authors: Rae, Edwin;

    (handwritten on back of image): 66.109, Wellow (Som.): fresco: figures to right

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    The present study already announces in its title a very precise description of its subject. It is preceded by another, published in 2012 (La música en la Colegiata de Santa María la Mayor de Talavera de la Reina durante el siglo XVIII), in which the same author revealed the existence, until then little or not known, of an intense musical activity linked to the collegiate church and focused, even from several centuries ago, on a fully constituted chapel. The half century from 1800 to 1851 was a period of clear decline for the music chapel of the Collegiate Church of Talavera de la Reina, as for many others in Spain: a period marked by a general brutalisation, by unfortunate political events, economic crises and health problems that seriously affected musical life outside the court; marked, moreover, in the case of this Collegiate Church, by the devastating fire of 1846, which, among other things, destroyed the two organs and the choir stalls

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