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The hapax legomenon קֻבָּה , which seems to appear out of context in the account of Phinehas killing an Israelite man and a Midianite woman in Num 25:8, has long puzzled commentators, scholars, and translators. This paper presents a new, text-critical explanation, suggesting that the original text read ויבא אחר איש ישראל וידקר את שניהם את איש ישראל אל הקבה ואת האשה אל קבתה , not including קֻבָּה at all: Phinehas pierced the man אֶל הַקֵּבָה , "through the belly," and the woman אֶל קֳבָתָהּ , "through her belly." The corruption occurred when the words אל הקבה were moved six words back in the text due to homoioteleuton and a partially successful correction. This unintentionally created the extant sentence ויבא אחר איש ישראל אל הקבה , in which קבה must denote a location, not an organ. Rather than קֵבָה , it was therefore read as קֻבָּה. [ABSTRACT FROM AUTHOR]

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Le Tombeau à Colonnes est un complexe funéraire situé en périphérie du site de Koumbi Saleh (Mauritanie) qui depuis 1914 a attiré l’attention des archéologues sans pour autant avoir été pleinement compris ni même daté. La découverte concomitante de carnets de fouilles inédits et du reliquat d’une collection de mobilier réputée perdue ont récemment ouvert la voie à un réexamen de cette structure aujourd’hui largement détruite. C’est ainsi que tout juste un siècle après sa découverte, ce monument avait pu être daté des xie-xiiie siècles (Capel et al., 2015). Dans le prolongement de cette étude préliminaire, cet article procède à une analyse de la matérialité de ce monument en se fondant sur les données tirées des archives disponibles. Cette démarche met en évidence des connexions morphologiques et symboliques qui sortent de l’isolement cet édifice en lançant des passerelles avec différentes régions et traditions funéraires, qu’elles soient proches et prévisibles (Afrique du Nord, Sahara Central) ou beaucoup plus lointaines et inattendues (Asie Centrale). Elles interrogent ainsi les notions de diffusion, d’emprunt et d’appropriation des formes architecturales et des usages funéraires à travers le Sahara d’époque almoravide.The Columns Tomb is a funerary complex located on the outskirts of Kumbi Saleh (Mauritania) which has drawn the attention of archaeologists since 1914 without having been fully understood or even dated. The simultaneous discovery of unpublished excavation notebooks and of the last remains of a reputedly lost collection of artefacts have recently paved the way for re-examination of this now largely destroyed complex. Just a century after its discovery, the monument was dated to the 11th-13th centuries (Capel et al., 2015). As an extension of this preliminary study, our article analyses the materiality of this monument based on data from available archives. This approach highlights the morphological and symbolic connections that draw the edifice out of isolation, by establishing connections with different regions and funerary traditions, whether near and predictable (North Africa, Central Sahara) or much more distant and unexpected (Central Asia). They question the notions of diffusion, borrowing and appropriation of architectural forms and funerary customs across the Sahara during the Almoravid era.

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The study treats the Andalusian domes in a time-period extending from 92 H./711A.D, the date of the Arab conquest of the Iberian Peninsula, until 897 H. /1492 A.D, which marks the fall of the last Muslim stronghold in Granada. The study focuses mainly on conducting a precise taxonomy to the Andalusian domes, searching for the sources and the precedents of each and every type. Moreover, it emphasizes on the most particular characteristics in the structural behavior and constructive aspects of each type. Most importantly, the study aims to unify the Arabic terms given to the Andalusian domes, because certain types of domes have lately received different denominations when some Spanish works were translated into Arabic language, which would lead to further confusion in the Arabic scholarship. Christian and Mudéjar examples are out of the scope of the study, as the latter aims to be a mere starting point for further research. [ABSTRACT FROM AUTHOR]

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El programa arquitectónico palatino desarrollado por Pedro I en el tercer cuarto del siglo XIV constituye un claro ejemplo del uso de la arquitectura como medio de manifestación del poder. Los palacios de Astudillo, Tordesillas, Carmona y Sevilla presentan una serie de características comunes que nos permiten vislumbrar el uso de formas y espacios con funciones claramente relacionadas con la visualización del soberano dentro de un marco adecuado para su exaltación delante de sus súbditos. El Alcázar de Sevilla constituye la culminación de este programa con las más sofisticadas soluciones.

Throughout the 15th century, the Crown of Castile offers one of the most diverse and fascinating monumental landscapes in Europe. The central plan prevailing within religious and palatine contexts, added to the design of monumental façades or the development of the semipublic square, etc., are but a few elements which distinguished this monumental landscape from the last third of the 13th century, as a result of the consciously-accepted influence of Al-Andalus. The Andalusi forms gradually wore out throughout the 15th century, in front of the technical and ornamental display of the late Gothic arriving in Castille from the centre and north of the Continent from around 1430. Over the last years of the century there is a general enrichment and overflow with the renewed Renaissance airs coming from Italy. Only thus can we understand such diversity and freedom in the artistic layouts developed in Castille, mixed and overlapped, where pure Andalusi spaces and typologies come to life in the forms of the late Gothic or the Renaissance. Great masterworks such as the Capilla del Condestable in Burgos Cathedral, the façade of San Gregorio College in Valladolid, or the Queen Isabel’s Oratory in the Alcázar of Seville, among many others, could only emerge in Castile during the 15th century and under the circumstances above mentioned.

This article studies the use of sections of the groin vault as supporting architectural elements, particularly as squinches, its origin and development across the territories of Western Islam, particularly in the Iberian Peninsula. It includes a typological study supported on a broad catalogue of examples.

El palacio al-Badi de Marrakech es uno de los monumentos arquitectónicos más impresionantes del occidente islámico, cuya construcción se remonta a finales del siglo XVI, y que tras breve vida pasó a un estado de forzada austeridad al ser sistemáticamente expoliado. Sus colosales dimensiones aún confieren a sus ruinas un carácter monumental que recuerda al de algunas construcciones de la antigu.edad, que aún nos evocan su pasada exuberancia ornamental a través de detalles y vestigios. Basado en un cuidadoso análisis de sus restos y en el estudio comparativo con otros edificios contemporáneos y anteriores se propone una hipótesis sobre su forma original, que a su vez nos ayuda a entender algunas de sus funciones y significados. Para el estudio del Salón Norte, que por su tamaño y situación debió ser uno de los principales espacios del palacio, hemos seguido una metodología similar a la de otros trabajos ya realizados en este conjunto que incluyen un detallado levantamiento, el examen de las trazas aún visibles en las estructuras conservadas, el estudio comparativo con otros edificios coetáneos, así como el análisis de fuentes gráficas y escritas.

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