Gothic Cathedral construction

The construction from 1386 of Milan Cathedral, the largest Gothic church ever constructed in Italy, was one of the most important episodes in the history of Italian and European architecture. The documentation of the late Trecento and early Quattrocento discussions over how to build the Cathedral is extraordinarily rich and extensive, and permits a consideration of the project from many points of view including the relationship between medieval architectural theory and an actual project. At the same time, any enquiry has to contend with the copious modern literature and the conclusions that have been reached hitherto – often erroneously in our view – about many of the most salient points. We thus re-examine published and unpublished documentation and the existing literature, analysing especially the format of the building's elevation, the proposals by Gabriele Stornaloco and Jean Mignot, and the drawings attributed to Antonio di Vincenzo. We also reconsider the notions of ars and scientia which have previously been misinterpreted in discussions of the cathedral documentation.

The work is the final part of a multi-year research project on the Milan Cathedral, which focused on the complete survey and threedimensional modeling of the Great Spire and the two altars in the transept. The main purpose of the job was to
prepare support data for the maintenance operations involving the cathedral since 2009 and still in progress.
The research job had begun addressing our efforts to identify which methods would allow an expeditious but comprehensive
measure of complex architectural structure as a whole.  The following research works were focused mainly to find an efficient method to visualize, use and share the realized 3D model.

En 1509, Íñigo López de Mendoza, II conde de Tendilla, explicaba que la inclusión del cimborrio en la Capilla Real de Granada era una cosa que da[ba] mucha vista y ahermosea[ba] en gran manera la Capilla y [hacía] el edificio real y magnifico. Para esas fechas tempranas del siglo XVI, el cimborrio se había convertido en un elemento dignificador de la arquitectura religiosa. Al alarde técnico que suponía su construcción, se unía su doble funcionalidad en el templo, ya que permitía aumentar la iluminación interior de los edificios –se trataba, en última instancia, de una figura de luces, tal y como lo definirá Simón García años más tarde–, que servía, a su vez, para subrayar el eje central del espacio religioso allí donde se cruzaban los brazos de la cruz. Estas razones prácticas y simbólicas favorecieron la construcción de este tipo de estructuras en toda la Europa cristiana a lo largo de la Edad Media y parte de la Moderna. El fenómeno también puede observarse en la Península Ibérica, donde comienza muy pronto, y se prolonga hasta fechas muy avanzadas. Trataremos de seguirlo a través de los ejemplos –y de los diseños– conservados.
Íñigo Lopez of Mendoza, the Second count of Tendilla, explained in1509 that the inclusion of the cimborrio in the Royal Chapel of Granada was a thing that gives many sight and embellishes in great way the Chapel and this inclusion transformed the building in to royal and magnificent. At the seearly dates of the 16th century, the cimborio had become a dignifying element of the religious architecture. The advantages were undoubted. First, the technical ostentation that supposed its construction. In addition, it had a double functionality in the temple, since it was allowing to increase the interior lighting and serves to underline the central axis of the religious space where the two parts of the cross were crossing. These practical and symbolic reasons favored the construction of this type of structures throughout the whole Christian Europe during the Middle Ages and part of the Modern one. The phenomenon can also be observed in the Iberian Peninsula; there it begins very early, and continues until very advanced dates. We’ll try to follow it through the examples –and of the designs– preserved.

The tradition of stereotomy developed in the different Christian kingdoms of the Iberian Peninsula between the late XIV and the early XV century will allow to materialize in stone the new Renaissance system which had arrived from Italy. This phenomenon, which represents, without a doubt, one of the greatest Spanish contributions to the “a la Antigua” architecture, will follow two different ways: one, derived from the construction techniques developed in the building of ribbed vaults, and the other one based on the carving and assembly of “piezas enterizas”.




La tradición estereotómica desarrollada en los diferentes reinos cristianos de la Península Ibérica desde finales del siglo XIV y comienzos de la centuria siguiente permitirá afrontar la materialización en piedra del nuevo sistema renacentista llegado desde Italia. Este fenómeno, que constituye, sin lugar a dudas, una de las mayores aportaciones españolas a la arquitectura “a la antigua”, se abordará a partir de dos vías sensiblemente diferentes: una, derivada de las técnicas constructivas desarrolladas en el volteo de las bóvedas de crucería, y otra, basada en la labra y el ensamblado de “piezas enterizas”.





La tradizione stereotomica sviluppata nei vari regni cristiani della Penisola Iberica tra la fine del XIV secolo e gli inizi del secolo successivo permetterà di affrontare la materializzazione in pietra del nuovo sistema rinascimentale giunto dall’Italia. Questo fenomeno, che rappresenta, senza alcun dubbio, uno dei maggiori contributi spagnoli all’architettura “a la antigua”, seguirà due vie profondamente differenti: una, derivata dalle tecniche costruttive sviluppate nella costruzione di volte a crociera, e l’altra basata sulla lavorazione e l’assemblaggio di “piezas enterizas”.

Reservados todos los derechos. Ni la totalidad ni parte de este libro puede reproducirse o transmitirse por ningún procedimiento electrónico o mecánico, incluyendo fotocopia, grabación magnética o cualquier almacenamiento de información y sistema de recuperación, sin permiso escrito de la Editorial Universidad de Sevilla.

Resumen: Resumen: Resumen: Resumen: A raíz de la realización de dos cortes en la cimentación de los pilares situados en el Trascoro, se ha recuperado abundantes datos históricos desde el siglo XII. El más antiguo corresponde a una calle y una vivienda destruidas y sepultadas en 1172 para la construcción de la Mezquita almohade. Del edificio religioso musulmán hemos identificado los rellenos de nivelación del terreno, así como tres pilares y el pavimento interior de la Sala de Oración. Localizamos también varios enterramientos correspondientes a la ocupación cristiana de este edificio. Todas estas estructuras fueron afectadas, en distinto grado, por la construcción de los cimientos de la catedral gótica, a la que hay que asociar enterramientos, solerías y cimentaciones de elementos secundarios.

Este livro reúne um conjunto de estudos que analisam, de diferentes perspectivas, algumas das múltiplas realidades que constituem o mundo do clero secular e das suas catedrais na Idade Média, dando o protagonismo a novos campos de pesquisa e a linhas de estudo interdisciplinares até agora pouco exploradas em Portugal. É composto por duas partes: "Espaços, Símbolos e Poderes", dedicada à liturgia, à música, à arte, à arquitectura, à sigilografia, à heráldica e à epigrafia ligadas às catedrais, e "Culturas", que aborda a materialidade e a mundividência do quotidiano do clero secular medievo, com destaque para a sua vertente cultural e intelectual.

Índice

Apresentação / Presentation | Maria do Rosário Barbosa MORUJÃO

Introdução
Porquê as catedrais? | Anísio Miguel de Sousa SARAIVA

Espaços, Símbolos e Poderes
Liturgia e Espaço Religioso

Catedral y liturgia medievales: la definición funcional del espacio y sus usos | Eduardo CARRERO SANTAMARÍA

Espaço religioso e transformação: a fundação de capelas na época gótica | Lúcia Maria Cardoso ROSAS

Liturgia bracarense: origens, fontes, posteridade | Manuel Pedro FERREIRA

Les peignes liturgiques: des objets ecclésiastiques au service de la théologie du rituel | Eric PALAZZO


O Património Catedralício Edificado: Funções, Transformações e Restauros

A Sé do Porto e as intervenções da DGEMN (1929-1982) | Maria Leonor BOTELHO

Os Monumentos Nacionais e a Sé de Viseu: a construção de um desafio para o século XXI | Carlos Filipe ALVES


Símbolos e Representações do Poder

O selo: símbolo de representação e de poder no mundo das catedrais portuguesas | Maria do Rosário Barbosa MORUJÃO e Anísio Miguel de Sousa SARAIVA

Collégialité et transcendance du corps épiscopal. La cathédrale et la mémoire épigraphique des évêques en France au XIIIe siècle | Vincent DEBIAIS

Heráldica eclesiástica: entre usos concretos e disposições normativas | Miguel Metelo de SEIXAS


Culturas
Cultura Material

O fim da linha: legados têxteis nos testamentos do clero catedralício português (1280-1325) | Joana Isabel SEQUEIRA

As vestes funerárias episcopais de D. Gonçalo Pereira, arcebispo de Braga (1348†) | Teresa ALARCÃO

O clero secular e a ourivesaria da Sé de Coimbra entre os séculos XIV-XVI | Pedro FERRÃO

Cultura Intelectual
La enseñanza en las catedrales hispanas | Susana GUIJARRO GONZÁLEZ

Vestígios da cultura na antecâmara da morte. O caso das livrarias de mão do clero medieval português nos testamentos catedralícios | Armando NORTE

Os arquivos capitulares. Formas de representação e preservação da memória documental: o caso de Évora no início de Trezentos | Hermínia Vasconcelos VILAR

Resumos / Abstracts

Biobibliografia dos Autores

Construída a partir da segunda metade do século XII, a Sé de Lamego é uma das catedrais mais antigas e emblemáticas do panorama historiográfico e artístico português. Porém, e em contraste com essa importância, os estudos que nas últimas décadas têm sido dedicados a este complexo catedralício e às suas sucessivas fábricas construtivas são resultado de investigações pontuais e dispersas, não existindo até ao momento uma síntese coerente e atualizada que ofereça uma interpretação de conjunto sobre a Sé de Lamego e os seus mais de 800 anos de história.
Procura-se com este livro preencher de algum modo essa lacuna e contribuir para o aprofundar da investigação e do debate interdisciplinar sobre as catedrais portuguesas, através de uma monografia dedicada à Sé duriense assente no rigor científico e na interligação temática e cronológica de diferentes abordagens, que constitui uma renovada e abrangente fonte de estudo e de informação também adequada e acessível ao público em geral.
O esforço de síntese e de contextualização encontra-se presente nas quase 300 páginas desta obra, que reúne as contribuições de nove investigadores especialistas em diversas áreas de estudo, como a História, a História da Arte, a Arquitectura, a Conservação e o Restauro, e em diferentes períodos temporais, da Idade Média à Época Contemporânea, articuladas numa organização temática representativa dos principais momentos históricos, construtivos e artísticos que moldaram a catedral de Lamego durante os seus oito séculos de existência. Assim, o livro aborda a pouco conhecida fase inicial de restauração da diocese e a subsequente construção da catedral românica e gótica; o período áureo da renovação renascentista da Sé, fortemente impulsionada pela actividade mecenática dos bispos de então; os séculos da Contra-Reforma e o seu impacto na organização da diocese e da praxis governativa, traduzida na reformulação arquitetónica e artística que a catedral então sofreu e que lhe conferiu a forma e a projeção que ainda hoje apresenta; não esquecendo também a sua história recente, marcada pelas intervenções da Direção Geral de Edifícios e Monumentos Nacionais e pelas campanhas de restauro que a catedral de Lamego conheceu ao longo do século XX.

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Built during the second half of the twelfth century, the complex that forms the Lamego Cathedral is one of the most representative historic monuments, not just of the city of Lamego, but also of the whole Douro region. Hence, it has always raised great interest and has frequently been an object for research and enquiry. Despite the important place the cathedral takes in the local and national heritage, and historiographic panorama, we have however noticed that the studies so far dedicated to this building and its successive constructions result mostly from sporadic and sparse researches, composed mostly from partial and incomplete readings of the documentation and the building itself. These studies do not concur to a solid interpretation along time of the whole history of the cathedral.

With this book we intend to somehow close this gap, which unfortunately is still common to most Portuguese cathedrals. We do so by promoting the research and the interdisciplinary debate around these national monuments, as well as by promoting the creation of coherent and updated syntheses on these buildings, specifically on the Lamego cathedral with its over 800 years of history. By putting together accurate information, including a theme and chronological interconnection of the various approaches selected by us, as well as a thorough but accessible discourse, we try not only to produce a scientifically interesting monograph but also an updated and broad source for study and information.

Following our purpose, we considered important to collect the contributions of nine national and foreign researchers specialised in different work areas, such as History, Art History, Architecture, Conservation and Restoration, and specialised in different historic periods, from the Middle Ages to the Contemporary Era.

The effort to contextualise and summarise what was put into this book via an organisation of themes representative of the main moments in the history of the Lamego cathedral: from the hazy and little studied initial phase of restoration of the diocese and construction of the Romanesque and Gothic cathedral; through the golden period of renaissance renovation of the cathedral, strongly driven by the patronage activity of the bishops of that time; up to the Counter-Reformation centuries and the impact these had in the organization of the diocese structure and in its governing praxis – this being strongly shaped by the architectonic and artistic reformulation that the cathedral underwent and that bestowed it with the shape and projection it still presents today; without forgetting the period in its recent history marked by the interventions of the National Board of Buildings and Monuments (DGEMN) and the technical restoration approaches that the cathedral underwent along the twentieth century. All these themes are now based and developed within the various chapters by the following authors: Maria do Rosário Barbosa Morujão (Univ. of Coimbra), Eduardo Carrero Santamaría (Univ. Autónoma of Barcelona), José Pedro Paiva (Univ. of Coimbra), Pedro Flor (Open Univ.), António Filipe Pimentel (Univ. of Coimbra), Nuno Resende (Univ. of Porto), Duarte Frias (Univ. of Coimbra), Maria Lúcia Cardoso Rosas (Univ. of Porto), and Joaquim Inácio Caetano (Company Mural da História).

L'obra de la catedral gotica de Barcelona, iniciada vers I'any 1298, suposa un notable esforc constructiu en el qual hi intervingueren la majoria dels mestres principals aleshores actius a Barcelona, a més d'altres mestres vinguts de fora, expressament cridats pel Capítol. La principal font per coneixer aquest procés són els Llibres d'Obra, que conservem quasi íntegramentl. Tot i que molt sovint la informació que ens ofereixen és fragmentaria o ambigua, tracen unes Iínies directrius que permeten situar amb més o menys precisió I'evolució cronologica de la fabrica. Una tasca d'aquest genere ja va donar lloc a "Les obres de la catedral de Barcelona" de Carreras Candi ' . L'autor hi recollí les dades més significatives que proporcionen, tot complementant-les amb informacions puntuals provinents d'altres fonts documentals, com les "Actes del Capítol", les "Deliberacions del Consell", els "Llibres de Clavaria" i els "Testaments dels Conse-Ilers". Carreras agrupa les referencies cronologicament, segons el sector de la Seu en el qual es treballava (campanars, claustre, cor ...), pero cense arribar a una elaboració completa de les dades que donava a coneixer, fet que hauria suposat un enfocament diferent del seu treball. Tot i que hi abunden les notícies artístiques sobre obres i autors, són encaixades en un plantejament historicista, que fa prevaler I'evolució constructiva general per damunt de I'estudi del fet artístic.

Se estudia y explica pormenorizadamente lo que es una catedral y las partes que ésta debe de tener, utilizándose muchos ejemplos y evolución de éstas a lo largo de los siglos. En resumen se intenta observar lo mágica que es la palabra "catedral."

in Bulletin Monumental, t. 175/1, 2017, p. 55-58

En 1526 et 1527, Louis van Bodeghem, le maître maçon de Marguerite d'Autriche, régente des Pays-Bas, se rend à deux reprises à Liège pour élaborer un projet de reconstruction du choeur de la cathédrale Saint-Lambert.

Architectural styles in the Europe, forming the Western Architecture styles such as Classical, Byzantium, Romanesque, Gothic, Renaissance, Baroque, Rococo, Neoclassical and New Classical Architecture, that cannot simply be applied in Indonesia or other tropical area regardless of tropical aspects. In line with the culture of an adaptive tropical society, the western architecture must also be able to adapt in response to the issue of tropical. Architecture as a cultural product is inseparable from the aesthetic aspect to adapt with local conditions.
Likewise, with western architecture styles from Europe that has for a long time formed the face of the cities in some regions of Indonesia as a significant aesthetic element. The adaptation of the Gothic Architecture style from western architecture to the issue of tropical in Indonesia certainly produces a distinctive form of composition and becomes an interesting element in aesthetic reviews.
One example of the building which used Gothic architecture of the era of Dutch colonial heritage that is significant presence in the tropics is the Church Cathedral Saint Peter’s Bandung by W.C.P. Schoemaker. That building have adapted to the problem of tropical climate through material selection, high slope of the roof and openings in the form of windows and vents that adorn the elements of scope of space in that building.
This research with the case study demonstrates that adaptation to tropical climate produces very rich new design elements or something that unique and has the potential to be a highly structured element of Gothic architecture elements, which are integrated with implementing western architecture to the tropical climate.

Société française d'archéologie. © Société Française d'Archéologie Siège social : Cité de l'Architecture et du Patrimoine, 1, place du Trocadéro et du 11 Novembre, 75116 Paris. Bureaux : 5, rue Quinault, 75015 Paris, tél. : 01 42 73 08 07, mail : contact@sfa-monuments.fr site internet : www.sfa-monuments.fr

Up until now the career of Lorenzo Mercader of Bretagne remained unknown before his arrival in Seville in 1454. This article sheds some light on his life prior to that date by publishing an indenture that bound him to the sculptor Fortaner de Usesques. The indenture was signed in Saragossa in 1446 and cancelled two years later. During this period, the Breton would have the chance to take part in works carried out by Usesques, but also to know first-hand the works in the cathedral of Saragossa undertaken by Isambart, Pedro Jalopa, Antoni Dalmau, and other masters of Valencian origins. Lorenzo Mercader’s stay in the Aragonese capital allows us to insert him into the dynamic of artists who worked in the Crown of Aragon before heading to the cathedral of Seville. Among this group of artists we can name Isambart, the founder, and continuators such as Carlín and, maybe, Antoni Dalmau, who probably designed the west façade of the Andalusian cathedral, where Lorenzo Mercader ended up working on its sculptural decoration.




Hasta ahora, no disponíamos de ningún dato sobre la trayectoria profesional de Lorenzo Mercader de Bretaña antes de su llegada a Sevilla en 1454. En este artículo presentamos su firma con el escultor Fortaner de Usesques, suscrita en Zaragoza en 1446 y cancelada dos años más tarde; un periodo de tiempo en el que, además de poder participar en los compromisos asumidos por Usesques, el bretón tendrá ocasión de conocer los trabajos desarrollados por Isambart, Pedro Jalopa, Antoni Dalmau y otros maestros de procedencia valenciana en la catedral de la capital aragonesa. Su paso por la ciudad del Ebro permite inscribirle dentro de la dinámica protagonizada por aquellos profesionales que trabajaron en la Corona de Aragón antes de recalar en la catedral de Sevilla, iniciada por Isambart y continuada por Carlín, e incluso es posible que también por el propio Antoni Dalmau, probable autor del diseño para la fachada de los pies, en cuya decoración escultórica terminará trabajando Lorenzo Mercader.

In the greatest splendor of gothic cathedrals, different conditioning systems were used in order to achieve technical improvements. The modification of acoustic behavior was one of them. Fixed elements as altarpieces, stain glass windows or different types of mortar coatings, were usually accompanied with configurable elements such as hangings, tapestries, draperies and paintings, as means to adapt the Cathedral to the different liturgical celebrations.
This paper studies the acoustic impact of the various conditioning methods used in the history of cathedrals, focusing on the Cathedral of Toledo. A virtual acoustic model is adjusted to on site measurements in order to compare the contemporary setting with the quotidian and extraordinary liturgical configurations at the beginning of 16 th century and 18 th century. The results established how deeply the acoustic parameters of the historical models differ from those of the present.

Las catedrales góticas, en su máximo esplendor, emplearon diversos sistemas de acondicionamiento para conseguir mejoras técnicas, siendo la modificación de su comportamiento acústico una de ellas. A los elementos fijos como los retablos, las vidrieras y los distintos morteros de revestimiento, se unieron habitualmente elementos configurables como colgaduras, tapices, telares y cuadros, empleados como recurso para la adaptación de la catedral a las distintas celebraciones litúrgicas.
Este artículo estudia la repercusión acústica de los diversos métodos de acondicionamiento empleados en la historia de las catedrales, centrándose en la Catedral de Toledo. Mediante un modelo acústico virtual ajustado con las medidas in situ, se compara el estado actual con el estado a principios del s. XVI y con el del s. XVIII en las configuraciones de liturgia diaria y extraordinaria, comprobándose que los parámetros acústicos de los modelos históricos difieren sustancialmente de los actuales.

The facade of Oviedo cathedral and its urban portico/passage both present similarities with the
Cathedral of Nantes and with Jean Fouquet’s miniature. Once a plan that forecast the junction of two twin
towers to this portico had been rejected, it was followed by the late gothic style of only building big towers
and the South Tower was erected, which presents similarities with the towers of the West of France. On the
other hand, its high zone synthesizes German tower architecture. The open work spires of the cathedrals of
Oviedo, Burgos and León must be connected with the introduction in Castile of this type of structure by Johannes
von Köln. When the open work, Burgos-style spires were finished, not only they were a new element
in Castile, but, according to the recent review of the chronology proposed for the cathedral of Strasbourg, we
are able to affirm that they would join the group of the first open work spires constructed in Europe. Though
its filiation cannot be definitely concluded, it is reasonable to look for similarities with the contributions by
the school of Johannes von Köln and master Ulrich von Ensingen, and it could also be related to the architecture
of big towers finished with open work spires of Cologne, Freiburg, Strasbourg, Basle or Ulm
La fachada de la catedral de Oviedo y su pórtico/pasaje urbano, presenta similitudes con la Catedral
de Nantes y con la miniatura de Jean Fouquet. Descartado un plan que unía a ese pórtico dos torres gemelas,
se siguió la moda tardogótica de las grandes torres únicas y se elevó la sur, cuyo cuerpo presenta semejanzas
con las torres del oeste de Francia. Su zona alta sintetiza la arquitectura de torres alemana. Las flechas
de las catedrales de Oviedo, Burgos y León, deben ponerse en relación con la introducción en Castilla de este
tipo de estructuras por Juan de Colonia. Cuando las flechas burgalesas fueron rematadas, no solamente eran
un elemento novedoso en Castilla, sino que, si damos por cierta la reciente revisión de la cronología propuesta
para la catedral de Estrasburgo, podemos decir que se unirían al grupo de las primeras agujas caladas construidas
en Europa. Aunque su filiación no puede darse por cerrada, parece razonable buscarla en el ámbito de
las aportaciones de la escuela colonesa y del maestro Ulrich von Ensingen, y entorno a la arquitectura de
grandes torres rematadas con flechas de Colonia, Friburgo, Estrasburgo, Basilea o Ulm.

El libro de fábrica de ese año nos permite conocer que un correo acudió a llamar a\ rnaestro de gwescaT-sin duda, Ju an de olótzaga'y a un desconoc ido mossen Car-/os q-ue se encontraba en Montearag6n, en las proximidades de la capital altoaragonesae. otro se encargó de hacerle llegar su invitación a maestre condi,o. Pere comp-te11, uno de lo_s más reputados maestros de la ciudad de valencia que, como olótzaga, yahabíatenido oportunidad de estudiar el cimbo¡rio con anterioridad. AsimismoJe

Las obras comienzan al día siguiente. El pilar se eleva en tan apenas una semana. El volteo de la bóveda cor¡e a cargo de los maestros Gabriel Gombau, Gil y Sariñena, que cuentan con los juicios aportados por dilerentes niaestros en sucesivas visitas. De hecho, el 16 de marzo de 1498 se abonan las giradas a este secindo pilar y atodaesta obra nueva a

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[fr] L’analyse proposée dans ce texte participe d’une œuvre de « critique de la culture », qui s’attache en général à déterminer la responsabilité de la culture dans l’ensemble de l’évolution politique et intellectuelle. Il s’agit de soutenir que l’œuvre d’art totale, qui devient un fantasme antidémocratique chez Wagner, est une condition de possibilité de la domination totalitaire au XXe siècle. La démonstration se fonde sur la récupération du projet wagnérien dans le domaine de l’architecture, spécialement à l’époque de l’expressionnisme. Elle vise à expliquer l’affinité particulière qui existe entre le totalitarisme nazi et l’art de bâtir.

[en] The analysis proposed in this text takes its place in a work of “cultural criticism”, which usually endeavours to determine the responsibility of the culture in the process of political and intellectual evolution. It is argued that the total work of art, which becomes an undemocratic fantasy in Wagner, is a condition of possibility of totalitarian domination in the twentieth century. The demonstration is based on the recovery of the Wagnerian project in the field of architecture, especially during the era of expressionism. It aims to explain the special affinity between Nazi totalitarianism and the art of building.

Hasta el hallazgo y estudio del plano de Bidaurreta 1 , la historia arquitectónica de la Capilla Real parecía condenada a un carrusel de personajes ilustrísimos, renombrados artistas, cartas de ida y vuelta, maquetas, planos, paralelos estilísticos, etc, pues lo que la copia de la traza refleja resultó absolutamente inesperado. En los últimos meses, los resultados excepcionales (y a mi entender rotundos) de la excavación arqueológica, suponen el premio a varias décadas de investigación del edificio por parte de un equipo multidisciplinar capitaneado por el maestro mayor. Por lo que respecta a la capilla de los Reyes, considero que se han desvelado sus secretos en lo que a su implantación general se refiere, así como a aspectos esenciales de su diseño en planta.

Artículo publicado en dos partes en la Revista Lope de Barrientos Seminario de Cultura, (Nº 3, 2010, pp. 177-201 y Nº 4, 2011, pp. 113-162, sobre los resultados de la Lectura de Paramentos sucedida durante la restauración de la Torre de las Campanas conquese del año 2008.

Centrándose en los aspectos interpretativos se demuestra la mano de los Maestros Enrique y Juan Pérez artífices de buena parte de las catedrales de Burgos y León. De hecho, el primero iniciaría su carrera aquí en Cuenca. La prueba de ello es el grabado de una girola que constituye el proyecto de la que el propio Enrique construiría en Burgos.

A 9 de maig 1472 (…) se feren ordinacions per redressar la obra : las mes notables son : prohibir nubcias clandestines per no defraudarse als drets de la obra, posar bassins de la obra en las iglesias de Girona y bisbat, demanant al rey franquesa per los bassiners, annatas de tots beneficis degudes, la ons de dignitats, i que lo obrer se firme en lo enventaris dels trezorers y que aquests regoneza sovint.

ABSTRACT: Documentary and archaeological information lead us to know that the project of building a gothic Chevet for St.James' cathedral ends up converting in several funerary chapels, wich wuould be included in the cemetery of the city. These chapels constructed the only finished part of the work, thanks to the financing of the true promoter for the new building: the bourgeoisie.