Papers by Ana Cristina C Sousa
El Sol de Occidente. Sociedad, textos, imágenes simbólicas e interculturalidad, 2020
A ourivesaria portuguesa da segunda metade do século XV e primeiras décadas do XVI conheceu um p... more A ourivesaria portuguesa da segunda metade do século XV e primeiras décadas do XVI conheceu um período de grande prosperidade, evidenciada pela qualidade técnica das obras que chegaram até nós e pela densidade dos motivos decorativos que as cobrem, marcados por uma diversificada e complexa iconografia narrativa. Entre elas, destacam-se as salvas, de prata dourada ou na sua cor, elementos fundamentais dos «tesouros» das casas a que pertenciam e símbolos de ostentação e de riqueza, pensadas para serem expostas e contempladas em ocasiões festivas. Pretende-se, neste texto, analisar a natureza e representações de animais nestes objetos, temas de origens culturais muito diversas, patentes nas fontes literárias, religiosas e imagéticas e que refletem, necessariamente, valores e crenças do mundo tardo-medieval.
A “FORMA DO TEMPO” NA ARTE DA TALHA. OS ESTUDOS DE CASO DA IGREJA DE SANTA CLARA DO PORTO E DA PARÓQUIA DE SÃO JOÃO BAPTISTA DA FOZ DO DOURO, 2022
Resumo: A partir de exemplares existentes na igreja do antigo convento de Santa Clara do Porto e ... more Resumo: A partir de exemplares existentes na igreja do antigo convento de Santa Clara do Porto e de alguns espaços sacros da paróquia de São João Baptista da Foz do Douro, discorre-se, neste texto, sobre a complexidade das classifi cações estilísticas na arte da talha e da fragilidade das mesmas quando confrontadas com a noção de tempo. A mesma obra pode ser portadora de várias vidas, que se acumulam por várias razões: desgaste do uso; acidentes provocados pela natureza ou mão humana; alterações devocionais e litúrgicas; novas serventias dos espaços sacros ou simplesmente pelas mudanças do gosto. Procura-se demonstrar a imperativa necessidade do estudo dos retábulos na diacronia, enquanto realidades orgânicas sujeitas ao devir e que sofrem, no seu percurso de vida, transformações, adaptações, ocultações, substituições e mimeses, adquirindo a "forma" que o "tempo" confere aos objetos, tal como imortalizou George Kubler.
The centre as Margin. Eccentric Perspectives on Art, 2019
Res Mobilis, 2020
La Orden Militar de Santiago favoreció la presencia del elemento femenino desde su fundación. A d... more La Orden Militar de Santiago favoreció la presencia del elemento femenino desde su fundación. A diferencia de otras órdenes militares, sus caballeros podían casarse y formar familia, creándose dinastías en el seno de la Orden. Sus miembros, muy próximos a la Corona, ocupaban los más altos cargos dentro de la milicia y sus dominios durante varias generaciones por lo que las familias, para inmortalizar su nombre y asociarlo a las comunidades a las que servían, hacían donación de bienes y objetos que reflejaban su grandeza y la de la familia a la que pertenecían. En un viaje por los textos de las visitas pastorales realizadas en el territorio de la Orden de Santiago desde finales del siglo XV hasta la primera mitad del siglo XVI, trataremos de demostrar la importancia de las mujeres en dichas donaciones analizando la naturaleza de los objetos donados por ellas y las razones de su elección.
Ikon 14 - 2021, 2021
The cult of Saint Torquatus has strong roots in the city of Guimarães, in the north of Portugal, ... more The cult of Saint Torquatus has strong roots in the city of Guimarães, in the north of Portugal, where, tradition narrates his incorrupt body was found. The devotion to this martyr saint goes back to the eighth century, a time when Vita Torquati was written, based on the expansion and development of Christian resistance and thus grounded in the mythical times of the founders of Iberian kingdoms. The devotion to Saint Torquatus underwent, however, a new surge at the end of the Middle Ages, with reports of the apparition, in duplicate, of his incorrupt body. The description of the prodigious miracle and the translation of his holy body are repeated and amplified in literature of a memorialist nature in the Modern Era. Understood by some as one of the Apostolic Fathers who were direct disciples of São Tiago (Saint James), the evangeliser of Hispania and by others as Torcato Felix, former archbishop of Braga of the eighth century, his iconography follows the traditions of a bishop. This paper intends to demonstrate how the devotion to Saint Torquatus was constructed, strengthened and spread throughout the medieval and early modern periods and how it was subjected to cultural, religious and political issues in the peninsular territory, in the first phase and specific locations in the second phase. It will equally give a definition of its iconography, bearing in mind the saint's identity and chronological duplicity, as well as the complexity of legends developed, enforced and spread in memorialist literature of the Early Modern age.
De Portugal a Macau. Filosofia e literatura no diálogo das culturas, 2017
Abstract: Built in the first half of the 17th century, the Church of Madre de Deus College of Mac... more Abstract: Built in the first half of the 17th century, the Church of Madre de Deus College of Macao is an emblematic example of the architecture of the Jesuits in the context of the Portuguese Expansion. We will begin by making the architectural reading of the church as well as its contextualisation within the framework of the remaining architectures of religious function of the city of Macao. Testimony of the cross of cultures, we intend to analyze the iconographic elements of the façade, contextualizing them in the catechetical sense of the Order with the cultural miscegenation it promoted.
Keywords: Mater Dei; architecture; iconography
Ana Cristina Sousa, 2020
Resumen La Orden Militar de Santiago favoreció la presencia del elemento femenino desde su fundac... more Resumen La Orden Militar de Santiago favoreció la presencia del elemento femenino desde su fundación. A diferencia de otras órdenes militares, sus caballeros podían casarse y formar familia, creándose dinastías en el seno de la Orden. Sus miembros, muy próximos a la Corona, ocupaban los más altos cargos dentro de la milicia y sus dominios durante varias generaciones por lo que las familias, para inmortalizar su nombre y asociarlo a las comunidades a las que servían, hacían donación de bienes y objetos que reflejaban su grandeza y la de la familia a la que pertenecían. En un viaje por los textos de las visitas pastorales realizadas en el territorio de la Orden de Santiago desde finales del siglo XV hasta la primera mitad del siglo XVI, trataremos de demostrar la importancia de las mujeres en dichas donaciones analizando la naturaleza de los objetos donados por ellas y las razones de su elección. Abstract The Military Order of Santiago promoted the feminine element from its foundation. Unlike other military orders, their knights could marry and start a family, creating dynasties within the Order. Its members, very close to the Crown, held the highest positions within the militia and their domains for several generations and therefore, those families, to immortalize their name and associate it with the communities they served, donated goods and objects that reflected his greatness and the greatness of their families. In a journey through the texts of pastoral visits conducted in Order of Santiago's territory from the end of the 15th century to the first half of the 16th century, we will try to demonstrate the importance of women in these donations by analyzing the nature of the donated objects and the reasons of their choice.
Ana Cristina Sousa, 2020
RESUMEN: La iconografía del hombre salvaje gozó de un gran esplendor en Europa entre
los siglos X... more RESUMEN: La iconografía del hombre salvaje gozó de un gran esplendor en Europa entre
los siglos XIV y principios del XVI, incorporándose a los más variados soportes tanto materiales
como literarios o efímeros en una amplia área geográfica. Las bandejas de plata portuguesas
ejecutadas en este período, demuestran que las representaciones del hombre salvaje obedecen
a características imagéticas diferenciadas con distintos orígenes e interpretaciones que remiten,
necesariamente, a contextos iconográficos también diferentes. El objetivo de este artículo es proponer
argumentos que expliquen esas diferencias y demostrar que las funciones y significados del
tema no son ni universales ni estáticos, pudiendo presentar variaciones incluso en el ámbito de un
mismo soporte.
Palabras clave: Hombre salvaje, iconografía, bandejas de plata, siglos XV-XVI
Entre Deus e o Rei. O Mundo das Ordens Militares, FERNANDES, Isabel Cristina F. (coord.), 2018
La joia en l’art i l’art en la joia. 3r Congrés Europeu de Joieria, 2018
El objetivo de este artículo es analizar una colección de moldes de bronce del siglo XIX (de apro... more El objetivo de este artículo es analizar una colección de moldes de bronce del siglo XIX (de aproximadamente un millar y medio) que todavía se utiliza en un taller de orfebrería en Gondomar (una ciudad situada cerca de Oporto, Portugal). La colección pertenecía a un taller de Oporto que cerró durante la década de 1970 y corría el riesgo de desaparecer. La compró el taller de Gondomar que comenzó a utilizarla nuevamente desde ese momento. Estos moldes se utilizan en la técnica de estampación, un proceso de realización de un patrón de relieve sobre metal forzando, con un golpe de martillo, un punzón con el patrón deseado de relieve en una lámina de metal sobre el molde correspondiente. Es un proceso manual antiguo y permite hacer varios objetos idénticos al mismo tiempo. Se desarrolló ampliamente en el siglo XIX para hacer joyas en producción masiva. Los moldes de bronce se utilizaron para crear algunas de las tipologías más comunes de joyas portuguesas durante el siglo XIX y la primera mitad del siglo XX, especialmente pendientes y colgantes, concretamente cruces, corazones e imágenes religiosas.
Cister no Douro, 2015
Em 1702, a primitiva igreja medieval do Mosteiro de Arouca encontrava-se num estado avançado de d... more Em 1702, a primitiva igreja medieval do Mosteiro de Arouca encontrava-se num estado avançado de degradação, como se infere do relato dos visitadores de Alcobaça que então a inspeccionaram.
Genius Loci. Lugares e Significados /Places and Meanings, 2017
Resumo: As pequenas placas de cera consagradas, vulgarmente conhecidas como "Agnus Dei", de vária... more Resumo: As pequenas placas de cera consagradas, vulgarmente conhecidas como "Agnus Dei", de várias formas e tamanhos e com a imagem do Cordeiro Místico impresso numa das faces, materializam uma prática contínua de devoção desde os primórdios do Cristianismo até aos nossos dias, constituindo, nesse sentido, uma referência da Cultura Ocidental. Este artigo tem, como principais objetivos, refletir sobre a origem destas peças, analisar os materiais, iconografia, rituais de sacralização e distribuição bem como apresentar as virtudes e benefícios que lhes estão associados. Pretende-se, ainda, explicar o simbolismo da sua presença nas portas dos sacrários a partir de dois estudos de caso originais: o da igreja de São Paulo / Capela Nova de Vila Real e o da igreja paroquial de Sabrosa.
Abstract: The small consecrated medallions of wax, commonly known as Agnus Dei, have various forms and sizes and the image of the Mystical Lamb printed on one of the sides. These medallions bring to light a continuous practice of devotionn that dates from the beginnings of Christianity until the present day, thus making in that sense, a point off reference in Westernn Culture. The main objectives of this article are to provideea reflexion of the origin of theseeobjects, to analyse theematerials, the iconography, sacred rituals and distribution. It also aims to present the virtues and benefits associated with them and in addition, to explain the symbolism of their presence on the doors of the tabernacles from two original case studies, namely: the one at the Church of São Paulo / New Chapel of Vila Real and the one at the parish church of Sabrosa.
Gold and silver pendants representing Our Lady of Conception were some of the most common example... more Gold and silver pendants representing Our Lady of Conception were some of the most common examples in traditional Portuguese jewellery during the 19 th century and first half of the 20 th century, following a typological variety of crosses and hearts. In popular culture, these images reflect the great devotion, service and defence that the Dogma of Immaculata had in Iberian Peninsula, strongly supported by the Franciscan Order, which sustained the idea that the Virgin was conceived without sin. This belief, intensified during the 17 th century, was politically supported by D. João IV, the first monarch of the dynasty following the Declaration of Independence of Portugal after the Spanish dominance, in 1640. In the Cortes of 1646, D. João IV declares the Virgin of Conception as patroness of the Kingdom, a decision confirmed by Pope Clement X in 1671. This study is intended to reflect on the popularization of these images, display the iconographic model, the techniques used to make these pieces during the 19 th and 20 th centuries, and evaluate functions, practices and contexts of use. This work is the result of conducted research in archives, goldsmith workshops that still keep moulds with these images, the study of pendants preserved in public and private collections, as well as photographic archives, including individual and group por-traiture, where the objects can be seen in their usual context.
This paper aims to study the iconography of the Mass of San Gregory, establishing the relation be... more This paper aims to study the iconography of the Mass of San Gregory, establishing the relation between its circulation with the affirmation of the cult of the Blessed Sacrament and the humanized representation of Christ, the Man of Sorrows, in the late Middle Ages. The great diffusion of this kind of images during the 15 th and 16 th centuries, throughout all Western Europe, and its spread to the New World, provides a wide domain for the analysis of medieval liturgy and the organization of the altar, with all its sacred objects, namely the metallic ones, offering a reflexion about its formal, material and symbolic aspects.
De Arte, 2016
The Synodal legislation, the Visitation Books and the Inventories of diocesan and parish church t... more The Synodal legislation, the Visitation Books and the Inventories of diocesan and parish church treasures from the mid 15 th to mid 16 th century frequently refer to the existence of “tools for making hosts” and their state of conservation, stating that they should be replaced when inadequate and acquired when absent. The hosts were
made on site, normally in the sacristies, and carefully prepared in accordance with a charily conducted ritual, taking care with the origin and quality of the materials and utensils used as well as the conditions of those responsible for the preparation of the oblate. Based on a comparison of the aforementioned literature with the “host moulds”
that have survived to the modern day and contemporary paintings, the iconography used on the Hosts will be analysed and their liturgical and symbolic meanings reflected upon.
The main purpose of this study is to demonstrate the relationship between the affirmation of the... more The main purpose of this study is to demonstrate the relationship between the affirmation of the cult of the Blessed Sacrament starting at the late twelfth century, and the characteristics of the objects directly related to the Body of Our Lord: chalices and patens, Host boxes, ciboria and monstrances. The privileged sources for this research relate to the Visitations Books conducted between the last quarter of the fifteenth century and about 1571 to the churches under the jurisdiction of the Military Orders of Christ, Avis and Santiago, in Portugal. The results of this study demonstrate the survival of Gothic forms in Portuguese sacred jewellery during the first quarter of the sixteenth century (and even second), despite the introduction of the " Roman-style " decorative elements since the early days of this same century. En el nombre del Señor: la afirmación del culto al Santísimo Sacramento y los objetos litúrgicos de finales de la Edad Media en Portugal Resumen El principal propósito de este estudio es demostrar la relación entre la afirmación del culto a la Eucaristía iniciado a finales del siglo XII y las características de los objetos directamente vinculados con el cuer-po de Cristo: cálices y patenas, porta hostias, copones y custodias. Las fuentes privilegiadas para esta investigación son los Libros de Visitas llevadas a cabo entre el último cuarto del siglo XV y hacia 1571 en las iglesias bajo la jurisdicción de las órdenes militares de Cristo, Avis y Santiago en Portugal. Los resultados de este estudio demuestran la persistencia de las formas góticas en la orfebrería sacra portu-guesa durante el primer cuarto del siglo XVI (e incluso el segundo) pese a la introducción de elementos decorativos " a la romana " desde comienzos de la misma centuria.
Considered as two reference points of European gothic sculpture, the tombs of D. Pedro and Inês d... more Considered as two reference points of European gothic sculpture, the tombs of D. Pedro and Inês de Castro (c. 1360-1367) in the monastery of Alcobaça, Portugal, have been the subject of great attention and study since the end of the 19th century. The technical quality, the anonymity of their execution and the complexity of the iconographic programme of the two monuments has fuelled this fascination and led to many readings and interpretations. The recognition that the narrated themes follow a cohesive, conscious, thought out selection of a biographical nature has led scholars to privilege some of the narratives represented on the tombs considered rare inPortuguese medieval iconography, including the Wheel of Life/Wheel of Fortune and the Last Judgement. However, these approaches have overlooked the detailed representation of the life and martyrdom of St Bartholomew. The purpose of this paper is precisely that: a thorough analysis of these episodes in conjunction with written sources and other contemporary works. The rarity of iconographic works referring to the life of St. Bartholomew in European medieval art equally justifies the interest shown in D. Pedro I's tomb.
The church os Nossa Senhora da Encarnação de Valverde (Alfândega-da-Fé, Portugal) has on its cust... more The church os Nossa Senhora da Encarnação de Valverde (Alfândega-da-Fé, Portugal) has on its custody a pair of cruets and a processional cross, both dated from the last quarter of the Fifteen Century, of great heritage value. These objects present the mark [O/A], identified as Alonso de Portillo's mark, a major name of the Astorga gothic silversmiths, and the coat of arms of the Avellaneda and Velasco's families. This study will address the authorship and commission of these objects and intends to clarify how they came to Valverde. It will also consider the iconographic and character affinities with similar works crossing the borders during that period.
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Papers by Ana Cristina C Sousa
Keywords: Mater Dei; architecture; iconography
los siglos XIV y principios del XVI, incorporándose a los más variados soportes tanto materiales
como literarios o efímeros en una amplia área geográfica. Las bandejas de plata portuguesas
ejecutadas en este período, demuestran que las representaciones del hombre salvaje obedecen
a características imagéticas diferenciadas con distintos orígenes e interpretaciones que remiten,
necesariamente, a contextos iconográficos también diferentes. El objetivo de este artículo es proponer
argumentos que expliquen esas diferencias y demostrar que las funciones y significados del
tema no son ni universales ni estáticos, pudiendo presentar variaciones incluso en el ámbito de un
mismo soporte.
Palabras clave: Hombre salvaje, iconografía, bandejas de plata, siglos XV-XVI
Abstract: The small consecrated medallions of wax, commonly known as Agnus Dei, have various forms and sizes and the image of the Mystical Lamb printed on one of the sides. These medallions bring to light a continuous practice of devotionn that dates from the beginnings of Christianity until the present day, thus making in that sense, a point off reference in Westernn Culture. The main objectives of this article are to provideea reflexion of the origin of theseeobjects, to analyse theematerials, the iconography, sacred rituals and distribution. It also aims to present the virtues and benefits associated with them and in addition, to explain the symbolism of their presence on the doors of the tabernacles from two original case studies, namely: the one at the Church of São Paulo / New Chapel of Vila Real and the one at the parish church of Sabrosa.
made on site, normally in the sacristies, and carefully prepared in accordance with a charily conducted ritual, taking care with the origin and quality of the materials and utensils used as well as the conditions of those responsible for the preparation of the oblate. Based on a comparison of the aforementioned literature with the “host moulds”
that have survived to the modern day and contemporary paintings, the iconography used on the Hosts will be analysed and their liturgical and symbolic meanings reflected upon.
Keywords: Mater Dei; architecture; iconography
los siglos XIV y principios del XVI, incorporándose a los más variados soportes tanto materiales
como literarios o efímeros en una amplia área geográfica. Las bandejas de plata portuguesas
ejecutadas en este período, demuestran que las representaciones del hombre salvaje obedecen
a características imagéticas diferenciadas con distintos orígenes e interpretaciones que remiten,
necesariamente, a contextos iconográficos también diferentes. El objetivo de este artículo es proponer
argumentos que expliquen esas diferencias y demostrar que las funciones y significados del
tema no son ni universales ni estáticos, pudiendo presentar variaciones incluso en el ámbito de un
mismo soporte.
Palabras clave: Hombre salvaje, iconografía, bandejas de plata, siglos XV-XVI
Abstract: The small consecrated medallions of wax, commonly known as Agnus Dei, have various forms and sizes and the image of the Mystical Lamb printed on one of the sides. These medallions bring to light a continuous practice of devotionn that dates from the beginnings of Christianity until the present day, thus making in that sense, a point off reference in Westernn Culture. The main objectives of this article are to provideea reflexion of the origin of theseeobjects, to analyse theematerials, the iconography, sacred rituals and distribution. It also aims to present the virtues and benefits associated with them and in addition, to explain the symbolism of their presence on the doors of the tabernacles from two original case studies, namely: the one at the Church of São Paulo / New Chapel of Vila Real and the one at the parish church of Sabrosa.
made on site, normally in the sacristies, and carefully prepared in accordance with a charily conducted ritual, taking care with the origin and quality of the materials and utensils used as well as the conditions of those responsible for the preparation of the oblate. Based on a comparison of the aforementioned literature with the “host moulds”
that have survived to the modern day and contemporary paintings, the iconography used on the Hosts will be analysed and their liturgical and symbolic meanings reflected upon.
Under the auspices of 'good winds' conducting to this safe port, the SEE invites the scientific community to submit innovative contributions to the field of text and image culture, in general, and emblem studies, in particular—from a wide and interdisciplinary perspective. Departing from this holistic vision, the conference aims at stimulating new perspectives towards the study of images and emblematic literature, that can be extended to the Portuguese reality.
Link de acesso: https://xiiicongressoemblematica.com/
La Junta de Castilla y León, a través de la Dirección General de Patrimonio Cultural de la Consejería de Cultura y Turismo, participa en el proyecto Patrimonio cultural en común, del programa INTERREG ESPAÑA PORTUGAL 2014 2020, y organiza estas Jornadas Técnicas en las que se reflexionará sobre el contexto artístico y cultural de estas manifestaciones artísticas programando un conjunto de ponencias y visitas técnicas en las que participarán profesionales especializados.
Dentro del proyecto se ha dado continuidad, extendiéndolo al foco del noroeste de la provincia de Salamanca, a un trabajo que se inició en el año 2012 en la comarca zamorana de Sayago. Ambos estudios de catalogación e intervención definen un foco propio de decoración pictórica realizado en iglesias rurales en torno al primer cuarto del siglo XVI por cuadrillas de artesanos itinerantes que atendían las demandas de la zona, pues también trabajan al otro lado de la frontera portuguesa, dando lugar a una producción popular y asequible que responde a un concepto más decorativo que artístico, simplificando la técnica para hacerla rápida y rentable. A pesar de la modestia de recursos y planteamientos, estos artífices incorporaron las novedades estéticas de la época, integrando modelos renacentistas en su temática iconográfica, una manifestación de primer orden que ilustra acerca de las mentalidades y cosmovisiones de aquel tiempo y que solo ha empezado a descubrirse en las últimas décadas al retirarse los encalados que las recubrieron.
Las Jornadas Técnicas se realizan en cooperación entre la Consejería de Cultura y Turismo y el Departamento de Historia del Arte-Bellas Artes de la Facultad de Geografía e Historia de la Universidad de Salamanca.
La entrada es libre hasta completar el aforo en el Salón de Actos de la Facultad de Geografía e Historia de la Universidad de Salamanca, en C/Cervantes s/n, 37002 Salamanca,
El enlace para descargar el programa de las jornadas, así como para la inscripción (GRATUITA) en las mismas es el siguiente: https://patrimoniocultural.jcyl.es/web/jcyl/PatrimonioCultural/es/Plantilla100Detalle/1284755242955/_/1284900818591/Comunicacion
Época Moderna. Neste sentido, o teto de caixotões da capela-mor da igreja de Santa Cristina de Serzedelo, datado do século XVIII, poupado e muito restaurado durante as obras de restauro novecentistas, reveste-se de particular interesse, por perpetuar a memória da Ordem de Cristo no lugar. Este artigo tem como principal objetivo dar a conhecer e analisar
esta obra, cujo o erudito programa iconográfico exalta a Sabedoria e o conhecimento da Lei de Deus, pensado para os sacerdotes que diariamente ocupavam o "sancta sanctorum" e transmitiam a Palavra de Deus aos fiéis.
the south, the Gondomar’s council is currently the largest center of gold production, a reality that earned it the epithet of the “goldsmith’s capital”. Predominantly rural until the end of the twentieth century, it has been differentiated at the industrial level, and since the eighteenth century, by the crafts of carpentry and goldsmithing, sectors that absorbed part of the workforce of a continuously growing active population.
Based on the research carried out in the parish registers of the parishes of the council, in the commercial almanacs, in the registrations of goldsmiths’ in the Porto Assay Office, in the military censuses, passport applications, other periodic publications and several interviews with artisans, with this article, we intend to explain some of the reasons that made possible the birth of an “Eldorado” in a predominantly agricultural scenario, marked by scarcity and poverty. The affirmation of
family dynasties since the eighteenth century, the involvement of all in the production process and the practice of low-cost manufacturing, made possible by a clear and continuous exploitation of the
manual labor, are among the justifications of this phenomenon.
the one that experienced a greater increase. Getting inspiration from reality and translating it to stylised and abstract lines, goldsmiths engrave the shapes in brass moulds or paper, marking the final product in the books of “defumos”, the workshop’s memory testimony, but also creating
a record of the twentieth century jewellery artistic tastes.
Modern Age into the present time, specifically in Carção, a small isolated village in the interior of northern Portugal, Vimioso County, Bragança province, where they remain in use.
Keywords: Agnus Dei, Agnus Deus; wax; Carção (Vimioso); Faith and Superstition.
XVI" [The Library and the Treasure of Braga Cathedral in 15th and 16th centuries], in which he included the transcription of two inventories of the Treasure of Braga cathedral, dating from 1645 and 1761, and some loose documents belonging to the Mitre. Among them, he included a letter written by D. Jorge de Ataíde bishop to his cousin and archbishop of Braga, D. Fr. Agostinho de Jesus, dated 6 December 1599. In addition to administrative obligations, D. Jorge de Ataíde refers
to the commission of a gold chalice by a “remarkable artist”, in the words of Jesus da Costa, that the distinguished researcher didn’t recognise. The letter included a drawing of a chalice that the
bishop had made for him, but unfortunately, it was lost. The contents of the letter allows us to identify the “great” and “gifted” goldsmith as Juan de Arfe, then working on the shrines of the Monastery of San Lorenzo de El Escorial. In this regard, the document has a great value, allowing the identification of a chalice and paten made by this artist, in Braga cathedral, that unfortunately have also been lost.
Keywords: Juan de Arfe, chalice and paten, Braga cathedral, D. Jorge de Ataíde, D. Frei Agostinho de Jesus.
“Convento de Santa Clara do Porto: History and Heritage” addresses this iconic National Monument of the city of Porto from the historical and heritage perspectives. A Franciscan female convent, from its foundation in 1416 to its extinction in 1834, the reader is introduced to the building and its constructive and stylistic evolution, including its main artifices, the daily life of the religious community and its relationship with the city. From a religious house to the cultural heritage and tourist icon of the city of Porto, literary inspiration, an object of historical and artistic study, a reference of Portuguese baroque and the greatest example of national carving, the conservation and restoration intervention carried out between 2019 and 2021 is the motto for the presentation of the results of 2 years of research, authored by the art historians Ana Cristina Sousa and Nuno Resende, from the Faculty of Arts of the University of Porto.
1. Os jardins, as praças e os cemitérios como espaços de fruição pública: contexto histórico e características.
i) Definição de conceitos e terminologias;
ii) As transformações económicas, urbanísticas e urbanas e sociais do século XIX:
(1) proliferação da indústria a acessibilidade de produtos;
(2) vantagens do uso do ferro: rapidez de execução, durabilidade, combinação de materiais e versatilidade de formas e valores estéticos;
(3) melhoramento de condições de salubridade e acessibilidade das cidades; O papel de Haussmann, das Exposições Universais e dos catálogos de produtos na viagem das formas;
(4) novas práticas de sociabilidade, o lazer e a criação de condições de melhoria de vida;
iii) Evolução dos espaços e seus usos;
2. O mobiliário urbano em ferro: origem, materiais, técnicas e formas.
i) Tipologias de objetos em ferro fundido e forjado: fontes, bebedouros, bancos, coretos, colunas de iluminação, quiosques, fontes, grades, etc;
ii) Formas e modelos de inspiração.
iii) As principais fábricas de fundição da cidade do Porto como marcadores da paisagem urbana e ribeirinha: Massarelos, Bolhão, Bicalho, Ouro, Francos, Campo Alegre, etc.
(1) Condições de implantação e história administrativa;
(2) Acesso a matérias-primas, mão de obra qualificada e escoamento de produtos – a importância do eixo fluvial;
iv) Problemáticas de salvaguarda patrimonial: autoria, datação e intervenções.
3. Estudos de caso (TC):
i) Jardins do Palácio de Cristal
ii) Praça Mouzinho de Albuquerque
iii) Jardim do Passeio Alegre
iv) Praça do Marquês
v) Jardim de São Lázaro
vi) Praça da República
vii) Cemitério de Agramonte