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Este texto pretende mostrar cómo los indígenas de México aprendieron las técnicas para construir estructuras de mampostería como arcos y bóvedas. El hilo conductor de este trabajo parte de la observación de ilustraciones del Códice Florentino, después refleja las habilidades albañiles prehispánicos observando las soluciones de construcción en el sitio de Mitla, y finalmente toma la experiencia de la reconstrucción de la bóveda de la capilla abierta de Teposcolula como caso de estudio. El tejido de estos tres componentes revela que los métodos de enseñanza de las técnicas de construcción en el siglo XVI se hicieron a través del ejemplo y del conocimiento práctico.

Copyright of Ámbitos: Revista de Estudios de Ciencias Sociales y Humanidades is the property of Asociacion de Estudios de Ciencias Sociales y Humanidades and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Liño: Revista Annual de Historia del Arte is the property of Universidad de Oviedo, Servicio de Publicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Gracias a que el maestro de cantería y entallador Francisco Julí se vio envuelto en al menos cinco procesos judiciales, se ha podido completar su biografía y aumentar el conocimiento de su producción artística, desde su presencia en Salamanca en 1534 hasta su fallecimiento en Santiago de Compostela en 1563, constatándose su paso por Zamora, Valladolid y las localidades leonesas de Villafranca del Bierzo y Ponferrada.

El Escorial ejerció una influencia directa en la construcción de cúpulas en España, acrecentada por la publicación en 1589 de las Estampas, dibujos de Juan de Herrera que describían el edificio incluyendo una sección de la cúpula principal. Este trabajo muestra esa influencia en los exponentes más significativos de finales del siglo xvi, descartando paralelismos de estilo y apoyándose en datos documentales. Proyectos iniciales de cimborrios eran sustituidos por cúpulas trasdosadas, se añadían tambores, se tomaban proporciones de la sección escurialense o se copiaba su disposición constructiva. Se ofrece, además, el estudio detallado de una de ellas, la cúpula de la Capilla Cerralbo de Ciudad Rodrigo, trazada inicialmente por Juan de Valencia, ayudante de Juan Bautista de Toledo y Juan de Herrera en El Escorial. La investigación se apoya en levantamientos rigurosos de El Escorial y la Capilla Cerralbo realizados por la autora.

Copyright of Imafronte. Revista de Historia del Arte is the property of Servicio de Publicaciones de la Universidad de Murcia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of Vegueta: Anuario de la Facultad de Geografía e Historia is the property of Vegueta: Anuario de la Facultad de Geografia e Historia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of Vegueta: Anuario de la Facultad de Geografía e Historia is the property of Vegueta: Anuario de la Facultad de Geografia e Historia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of Liño: Revista Annual de Historia del Arte is the property of Universidad de Oviedo, Servicio de Publicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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En 1545 el emperador Carlos creó la Junta de Obras y Bosques para supervisar las obras que se realizaban en las propiedades de la Corona de Castilla. Con ella modernizó la administración de las fincas de la Corona y, a la vez, definió una organización piramidal. Cada obra era dirigida por uno o varios arquitectos o maestros –responsables de definir las trazas–, auxiliados por los aparejadores, que debían formar los modelos y definir las condiciones de los trabajos. Una vez concluida la obra, la administración del real sitio quedaba confiada a su gobernador o alcaide, de modo que la ejecución y la gestión permanecían separados. Felipe II convirtió el sistema en un riguroso marco normativo que afectaba a todos los oficios y definía con detalle en cada contrato de obra los trabajos a realizar. Con frecuencia éstos incluían referencias a moldes, modelos y trazas, así como croquis. Los objetivos y principales aportaciones originales de esta investigación son: 1. la vinculación de los discursos gráficos con los documentos de obra evidenciando su carácter complementario, lo que permite conocer las condiciones concretas de producción y uso de trazas, monteas, modelos y moldes; 2. la ampliación de la investigación a todos los oficios de la obra y no sólo a la cantería; 3. La difusión de un material esencial para la historia de la construcción en el siglo XVI, y en particular de las obras reales, publicándose por primera vez dibujos y documentos hasta ahora inéditos.

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La capilla mayor y la sacristía de la iglesia de la Merced de Baza, obras notables de la arquitectura conventual del sudeste español, siguen la solución más habitual en las construcciones de cantería del siglo XVI en el norte del Reino de Granada, una síntesis entre lo moderno y lo antiguo, una simbiosis entre la arquitectura renacentista y los últimos coletazos del gótico. Estas edificaciones nos hablan de la importancia de la producción arquitectónica del quinientos en las altiplanicies granadinas y del destacado papel de Rodrigo de Gibaja, y otros canteros, a nivel andaluz.

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El uso de diferentes tipos de dibujos, plantillas y modelos como elementos esenciales en las distintas fases de la construcción de los edificios históricos se ha investigado preferentemente para las tareas de cantería. El Monasterio del Escorial constituye un caso de estudio excepcional por la abundante documentación que se conserva sobre las condiciones, escrituras y libranzas de todas y cada una de las etapas y para los diferentes oficios, y por las descripciones de sus contemporáneos. El estudio del papel de las trazas y monteas en las decisiones de proyecto y en la construcción del edificio, así como su vinculación con los moldes y los modelos y con la documentación escrita durante la obra, aporta nuevas perspectivas a la construcción de las obras reales en España en los siglos XVI y XVII. Como resultado de la investigación, y procedente de varios documentos manuscritos, aportamos además material gráfico inédito sobre la construcción del Monasterio.

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Copyright of BSAA Arte is the property of Universidad de Valladolid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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