Um olhar sobre o castelo de Noudar: do castelo medieval à ruína: Proposta de valorização do lugar

O Castelo de Noudar está implantado num íngreme promontório da herdade da Coitadinha, a Noroeste de Barrancos, integrando o atual Parque da Natureza de Noudar. Construído a partir de 1303, foi alvo de diversas transformações ao longo do tempo, para responder às exigências militares de cada época, e chega aos nossos dias num avançado estado de decadência física. A investigação desenvolvida assenta, em grande parte, no desenho: de Noudar a uma escala territorial, como elemento que participa numa rede fortificada complexa; da evolução morfológica e funcional, que nos permite ter noção das várias configurações do castelo ao longo dos séculos; num desenho propositivo que desenvolve uma estratégia para valorização do lugar e do seu património material e imaterial. Hoje é fundamental compreender como as valências do Parque e da fortaleza se podem cruzar? Este trabalho pretende refletir sobre possibilidades de valorização para contrariar a degradação em que a fortaleza se encontra; ABSTRACT: The Noudar Castle is located in a steep promontory in the herdade da Coitadinha, Northeast from Barrancos, part of the Natural Park of Noudar. Its construction began in 1303, and underwent several transformations throughout its existence, adapting to the military advancements thru out the ages. Today, it shows an advanced state of decay. The investigation is focused on the design of Noudar on a territorial scale, taking part in a complex network of fortified systems; its functional and morphological evolution, which allows us to comprehend the configurations of the castle throughout the centuries; and on a proposed design that develops a strategy to enhance and bring value to this place and its material and non-material heritage. Today it's crucial to comprehend how can the values of the Park and fortress intertwine. This thesis reflects on the possibilities of valuing this site, counter acting the decay which has fallen upon it.

A marginália como imagem transgressiva: Ligações entre a página medieval e o graffiti contemporâneo

Propõe-se uma reflexão sobre imagens que habitam a margem enquanto lugar menor ou secundário de representação. Este trabalho parte de exemplos encontrados em manuscritos medievais e em graffitis contemporâneos e centra-se nas relações que estas imagens marginais (marginália) estabelecem com o texto central e oficial, tratando-se do texto escrito medievo ou da própria cidade contemporânea. Consideramos que a marginália tende a transgredir esse texto oficial, questionando a sua autoridade e imutabilidade através de uma expansão ou mesmo inversão das suas significações. Nestes fenómenos, a paródia e o humor desempenham um papel relevante. No entanto, a transgressividade da marginália surge como ambígua, facto decorrente da indefinição própria da imagem e da margem onde se inscreve. ABSTRACT: The dissertation explores the issue of images that inhabit the margin as a minor or secondary place of representation. Using examples from medieval manuscripts and contemporary graffiti’s, this work focuses on the connections established between this marginal imagery (marginalia) and the official and central 'text ', whether a written medieval one or one relating more closely with our experience of the contemporary city. lt is considered that marginalia tend to transgress this official text by questioning its authority and immutability through an expansion or even inversion of its original meaning. Parody and humor often play a part in these phenomena. However, the described transgression is filled with ambiguity, which finds its origins within the indefiniteness of the image and the margin where it is inscribed.

Knightly Masculinity, Court Games and Material Culture in Late Medieval Portugal: The case of Constable Afonso (c. 1480–1504)

This article explores the ways in which gender was used in order to transform an exiled and uneducated illegitimate child into a prince. Our study revolves around a member of the royal family, Afonso (c.1480–1504), who was brought up in hiding by peasants and who later, as a teenager, was reincorporated into the court. We argue that the keys to this process of rehabilitation were, on one hand, family politics centred around different configurations and on the other, his introduction into a court environment marked by the ideals of chivalry. Within this dynamic, material culture played a key role, because it gave the prince all the visual attributes of his new status, as well as allowing him the means to create a new self. We shall briefly introduce Afonso and his family context in order to give an insight into his life within changing political and dynastic contexts. Then, we will analyse the expression of manhood in the Portuguese court, using the spectacles at the court as a basis for observation, thus relating gender to material culture in a courtly environment.

Judeus, cristãos e muçulmanos no Portugal Medieval

Judeus e muçulmanos vivem e movem-se numa sociedade que se define como uma “respublica christiana”. O direito canónico e a sua influência nas leis gerais dos reinos europeus implica, necessariamente, a construção de uma identidade cristã que se define em oposição ao “outro”, sobretudo o judeu, mas também o muçulmano. Neste sentido, a superioridade cristã, basilar no pensamento da Igreja, afeta a legislação régia portuguesa (como a demais europeia), criando progressivamente normas de segregação, tanto a nível de vestuário como de restrição espacial das minorias. O discurso da Igreja e o conceito de “infiel”, conflui, de resto, com os interesses das oligarquias concelhias, no seu programa político de hierarquização social e económica. Não obstante, os contextos vivenciais específicos de cada comunidade subvertem, bastas vezes, as normativas , numa necessária complementaridade dos membros das três religiões.

Conquerors, Brides and Concubines. Interfaith Relations and Social Power in Medieval Iberia.

As its title indicates, this book, which is divided into four chapters, seeks to provide an overview of “the diverse political, social and cultural functions that interfaith marriage alliances and other sexual encounters fulfilled within the overall dynamic of Christian- Muslim relations in the Iberian Peninsula during the medieval period, both within al- Andalus (…) and the expansionist Christian-dominated polities of the North” (4). In this sense, its chronological span reaches from the early eighth century (the conquest of the Iberian Peninsula by the Muslims) to 1492 (the Christian conquest of the Nasrid Kingdom of Granada)

José de Escovar at the Chapel of the Souls: Technical and Material Study of a 1603 Panel Painting

This article reports the preliminary results of a technical and material study carried out on a 17th century panel painting located at the Chapel of the Souls in the main church of Vila Nova da Baronia (30 km away from Evora city, in southern Portugal). This painting is attributed to Jose the Escovar, a painter that worked for Evora Archiepiscopate between 1583 and 1622. Jose the Escovar is known by his mural paintings all across the Alentejo region. This is the first time that a panel painting made by this artist was studied. Analytical methods used included in situ technical photography (visible (Vis), raking light (RAK), infrared (IR), and ultraviolet (UV)), optical microscopy of cross sections, scanning electron microscopy with energy dispersive X-ray spectrometry (SEM-EDS), micro Raman spectroscopy, and micro Fourier transform infrared spectroscopy (m-FT-IR). The goal was to ascertain the techniques and colored materials used by Escovar on this painting so that the data can be used in future comparisons with others works attributed to this painter based on stylistic aspects.

Uncover the mantle: rediscovering Gregório Lopes palette and technique with a study on the painting “Mater Misericordiae”

Grego´rio Lopes (c. 1490–1550) was one of the most prominent painters of the renaissance and Mannerism in Portugal. The painting “Mater Misericordiae” made for the Sesimbra Holy House of Mercy, circa 1535–1538, is one of the most significant works of the artist, and his only painting on this theme, being also one of the most significant Portuguese paintings of sixteenth century. The recent restoration provided the possibility to study materially the painting for the first time, with a multianalytical methodology incorporating portable energy-dispersive X-ray fluorescence spectroscopy, scanning electron microscopy–energy-dispersive spectroscopy, micro-X-ray diffraction, micro-Raman spectroscopy and high-performance liquid chromatography coupled to diode array and mass spectrometry detectors. The analytical study was complemented by infrared reflectography, allowing the study of the underdrawing technique and also by dendrochronology to confirm the date of the wooden panels (1535–1538). The results of this study were compared with previous ones on the painter’s workshop, and significant differences and similitudes were found in the materials and techniques used

MATERIAL CHARACTERIZATION OF GILDING AND PAINTING TECHNIQUES OF A POST-BYZANTINE ICON

This study aims to identify the materials used in the production of a post-byzantine icon from the Museum of Évora’s collection. The icon, representing the “Emperor Constantine and his mother Helen holding the Holy Cross” was once dated as being from the 10th century. Throughout a multi-analytical approach, combining area exams with spectroscopic techniques, this study tried to confirm its actual chronology. The results obtained revealed that it is most likely an icon from the late 17th or 18th century.

Calcium sulfate fillers and binders in Portuguese 15th and 16th centuries: Ground layers from a family painting workshop — Study by multianalytical spectroscopic techniques

This study presents results on a developed methodology to characterize ground layers in Portuguese workshops. In this work a set of altarpieces of the 15th and 16th centuries, assigned to Coimbra painting workshop was studied, overall the masters Vicente Gil (doc. Coimbra 1498–1525), Manuel Vicente (doc. Coimbra 1521–1530) and Bernardo Manuel (act. c. 1559–94), father, son and grandson, encompassing from late gothic to mannerist periods. The aim of the study is to compare ground layers, fillers and binders of Coimbra workshop, and to correlate their characteristics to understand the technical evolution of this family of painters, using complementary microscopic techniques. The cross-sections from the groups of paintings were examined by optical microscopy and the results were integrated through the analysis obtained by μ-X–ray diffraction, scanning electron microscopy with energy dispersive X–ray Spectrometry, μ-confocal Raman and occasionally with μ-Fourier transform infrared spectroscopy imaging. Ground layers are of calcium sulfate, present as gesso grosso (mainly anhydrite with small amounts of gypsum) in the first and last phases of the workshop and gesso mate (mainly gypsum with small amounts of anhydrite) in an intermediate period. Binders have protein and oleic characteristics.

Characterization of medieval glass artefacts from Miranduolo site, Chiusdino, Italy

This archaeovitreological study deals with artefacts of Miranduolo site, Tuscany region (Italy), dated 1250-1350 AD. The Miranduolo site is a medieval hill-village dated from 7th to 14th century. The information obtained reveal that Miranduolo was under control of noble families, which displayed the social, economic and political power. It is marked by controlling the farmers and metal workers on the site, as well as having control over agricultural surpluses. No in situ glass workshop has been recovered, implying that the glass artefacts were imported. One aim of this work is application of SEM-EDS to visualize textural characteristics and thickness of the pristine glass and corrosion layers. Preliminary qualification and semi-quantification of major and minor chemical elements will provide the data on the glass group present and fluxes employed. The data obtained will be integrated with the one obtained by more sensitive techniques such as PIXE/PIGE and LA-ICP-MS. Twenty cross-sections of transparent glasses (colorless, azure, and different hues of yellow and) have been analyzed by VP-SEM. All the analyzed glasses display a homogenous matrix. Only four samples (MD 24, MD 139, MD 143, MD 259) show corrosion layers of various thickness with 2.25μm, 136-500 μm, 26.8 μm and 17.01 μm. EDS linescan analyses indicate strong depletion in the corrosion layers of Na and K, while Ca depletes to a minor extent. In general, both glass composition and the burial conditions were favorable for preservation. Samples can be classified as mainly plant ash Na-Ca-Si glasses made with both unpurified and purified Levantine ash. Only sample MD 243 is made from Barilla plant ash. Sample MD 139 cannot be classified into main compositional groups as K2O is 1.33 wt% and MgO 5.92 wt%. In 8 samples MnO content is lower than 0.8 wt%, meaning that in these samples MnO is naturally present. In other 12 samples, MnO above 0.8 wt% indicates deliberate addition as a decolorant agent to intentionally obtain different hues or the amount added was not successful in making the glass transparent. The results considering fluxes are compatible with archaeovitreological study from contemporary primary glass workshops in Tuscany. For determining the provenance of silica sources, further analysis with more sensitive techniques has to be carried out; Resumo: Este estudo “arqueovitreologia” lida com artefatos do local Miranduolo, região da Toscana (Itália), datados de 1250-1350 AD. O sitio de Miranduolo é uma colina vila medieval datada do séc.VII ao séc.XIV. As informações obtidas revelam que Miranduolo estava sob o controle de famílias nobres, que exibiu o poder social, económico e político. É marcado por controlar os agricultores e trabalhadores do metal no sitio, bem como ter controlo sobre os excedentes agrícolas. Não há na oficina de vidro in situ foi recuperado, o que implica que os artefactos de vidro foram importados. Um dos objetivos deste trabalho é a aplicação de SEM-EDS para visualizar características de textura e espessura das camadas de corrosão do vidro também como da áreas originais. qualificação preliminar e semi-quantificação de maiores e menores elementos químicos irá fornecer os dados sobre o grupo presente vidro e fluxos empregado. Os dados obtidos são integrados com os dados obtidos por meio de técnicas mais sensíveis, como PIXE / PIGE e LA-ICP-MS. Vinte secções transversais de vidros transparentes (incolor, azul celeste, e diferentes tons de amarelo) foram analisados por VP-SEM. Todos os vidros analisados exibir uma matriz homogénea. Apenas quatro amostras (MD 24, MD 139, MD 143, MD 259) mostram camadas de corrosão de várias espessuras com 2.25μm, 136-500μm, 26,8μm e 17,01μm. Análises Linescan EDS indicam forte esgotamento nas camadas de corrosão de Na e K, enquanto Ca esgota, em menor grau. Em geral, tanto a composição de vidro e as condições de depósito foram favoráveis para a preservação. As amostras podem ser classificados como vidros principalmente Na-Ca-Si feitas com cinzas de plantas do tipo levantino, não purificada e purificada. Apenas a amostra MD 243 é feita a partir de cinzas vegetais tipo “Barilla”. A amostra MD 139 não pode ser classificada em grupos principais de composição porque K2O é 1,33% em peso e MgO 5,92% em peso. Em 8 amostras, o teor de MnO é menor do que 0,8% em peso, o que significa que nestas amostras MnO está naturalmente presente. Em outras 12 amostras, MnO acima de 0,8% em peso indica adição intencional como um agente de colorante para obter intencionalmente diferentes matizes ou o valor acrescentado não foi bem sucedido em fazer o vidro transparente. Os resultados, considerando os fluxos são compatíveis com o estudo “arqueovitreologico” com as principais oficinas de vidro contemporâneos na Toscana. Para determinar a origem das fontes de sílica, uma análise mais aprofundada com técnicas mais sensíveis tem de ser levada a cabo.