Scielo RSS <![CDATA[Medievalista]]> http://scielo.pt/rss.php?pid=1646-740X20240001&lang=pt vol. num. 35 lang. pt <![CDATA[SciELO Logo]]> http://scielo.pt/img/en/fbpelogp.gif http://scielo.pt <![CDATA[Editorial - Os olhares de <em>Janus</em>]]> http://scielo.pt/scielo.php?script=sci_arttext&pid=S1646-740X2024000100007&lng=pt&nrm=iso&tlng=pt <![CDATA[Olhares improváveis: em memória de José Mattoso]]> http://scielo.pt/scielo.php?script=sci_arttext&pid=S1646-740X2024000100017&lng=pt&nrm=iso&tlng=pt <![CDATA[A capital imperial do Mali (século XIV): Uma nova hipótese]]> http://scielo.pt/scielo.php?script=sci_arttext&pid=S1646-740X2024000100055&lng=pt&nrm=iso&tlng=pt Abstract Despite its international fame during the Middle Ages, our knowledge of the empire of Mâli remains patchy. Perhaps the most significant lacuna is that its capital has not yet been reliably identified. This paper offers a new hypothesis about the location of the imperial capital of Mâli in the 14th century. It is based on the observation that the rulers of Mâli, like those of other medieval African polities, strengthened their power by controlling the interface between opposite merchant networks. In doing so, they tended to establish their political legitimacy through the use of titles and displays of political and religious power befitting their different clients and subjects. Taking this economic, religious and political duality into consideration allows us to posit that the capital of Mâli lay outside the royal domain. Though it has not yet been probed by archaeology, the city’s hypothetical location proposed in this arricle corresponds to available Arabic descriptions.<hr/>Resumo Apesar da sua fama internacional durante a Idade Média, o nosso conhecimento do império do Mali permanece muito incompleto. Talvez a lacuna mais significativa seja o facto de a sua capital ainda não ter sido identificada de forma fiável. Este artigo oferece uma nova hipótese sobre a localização da capital imperial de Mali no século XIV. Baseia-se na observação de que os governantes do Mali, tal como os de outras formações políticas medievais africanas, assentavam o seu poder no controlo da interface entre redes mercantis opostas. Ao fazê-lo, tendiam a estabelecer a sua legitimidade política através do uso de títulos e de manifestações de poder político e religioso condizentes com os seus diferentes clientes e súbditos. Ter em consideração esta dualidade económica, religiosa e política permite-nos postular que a capital do Mali se encontrava fora do domínio real. Embora ainda não tenha sido investigada pela arqueologia, a localização hipotética da cidade proposta neste artigo corresponde às descrições árabes disponíveis. <![CDATA[<em>Onde há dragões?</em> Ambientes dracónicos nas sagas nórdico-islandesas antigas]]> http://scielo.pt/scielo.php?script=sci_arttext&pid=S1646-740X2024000100083&lng=pt&nrm=iso&tlng=pt Abstract Dragons are frequent presences in Old Norse-Icelandic sagas, composed between the 13th and 15th centuries. The locations where dragons appear have been so far observed mainly under the lens of their relation to centre/periphery dynamics and regarding the borders of the otherworldly. Less focus has been devoted to the physical environments that dragons occupy, whether the ones they habitually inhabit or the ones they turn uninhabitable. The habitat of dragons encompasses a variety of natural environments throughout Old Norse-Icelandic literature. In this article, we will focus on the literary landscapes (sometimes informed by real geographies familiar to the authors, depending on setting), which surround dragons in the sagas, namely topographical features, weather phenomena, times of day and seasons. The main goal will be to define which landscapes saga dragons are mainly found in, and reflect on how dragons interact with their surroundings, altering their landscapes, most often through destructive means and making spaces into non-shared zones. As descriptions of dragon surroundings are often scarce in detail, this study intends to take a broad-scope approach to the available corpus of sagas with dragons in them, combing 55 dragon occurrences across 38 sagas and þættir (“tales, episodes”) for landscape-oriented vocabulary. It will focus on “legendary sagas” and "chivalric sagas" due to prevalence of the material, but also include episodes from "sagas of Icelanders", "kings’ sagas" and other texts adjacent to those genres.<hr/>Resumo Os dragões são presenças frequentes nas antigas sagas nórdico-islandesas, compostas entre os séculos XIII e XV. Até ao presente, os locais associados aos dragões têm sido analisados sobretudo na perspetiva da sua relação com as dinâmicas centro/periferia e com as fronteiras do Outro Mundo. Uma menor atenção foi até agora votada aos ambientes físicos ocupados pelos dragões, tanto os por eles normalmente habitados como os por eles tornados inabitáveis. O habitat dos dragões abrange, na literatura islandesa medieval, uma grande variedade de paisagens naturais. Neste artigo, focar-nos-emos nas paisagens literárias (ocasionalmente reflectindo geografias reais familiares aos autores, dependendo do cenário evocado) que rodeiam os dragões nas sagas, atendendo em particular aos elementos topográficos, fenómenos meteorológicos, alturas do dia e estações do ano. O objectivo principal será definir as principais paisagens em que os dragões são encontrados e reflectir sobre as suas interações com o meio envolvente, alterando as paisagens, principalmente através de meios destrutivos e transformando-as em lugares não-partilhados. Como as descrições dos ambientes que envolvem os dragões são frequentemente parcas em detalhes, será realizado um estudo alargado do corpus de sagas com referências a dragões, procurando-se vocabulário relacionado com paisagens nas 55 ocorrências encontradas em 38 sagas e þættir (“contos, episódios”). Focar-me-ei nas “sagas lendárias” e nas “sagas de cavalaria”, dada a prevalência de material nestes subgéneros, mas também incluirei episódios das “sagas de Islandeses”, das “sagas de reis” e de outros textos que lhes são adjacentes. <![CDATA[Dois Viajantes na Corte do Rei Alfredo]]> http://scielo.pt/scielo.php?script=sci_arttext&pid=S1646-740X2024000100119&lng=pt&nrm=iso&tlng=pt Abstract Considering just the English medieval case, it seems reasonable to assume that some sorts or forms of travel writing, literary or otherwise, must have existed before such canonical texts as The Travels of Sir John Mandeville, the anonymous The Land of Cockaygne or Geoffrey Chaucer’s The Canterbury Tales (14th century). Indeed, the two short accounts I will present were added to, and included in, the Old English translation of Paulus Orosius’s Historiarum (or Historiae) adversum Paganos Libro Septem (5th century), ordered by, and made for, Alfred the Great, King of Wessex (871-899)<hr/>Resumo Considerando apenas o caso medieval inglês, parece razoável admitir que alguns tipos ou formas, literários ou não, de escrita de viagens terão existido antes de textos canónicos como The Travels of Sir John Mandeville, o anónimo The Land of Cockaygne ou The Canterbury Tales, de Geoffrey Chaucer (Século XIV). Com efeito, os dois curtos relatos que irei apresentar foram adicionados à (e incluídos na) tradução para inglês antigo da Historiarum (ou Historiae) adversum Paganos Libro Septem, de Paulo Orósio, encomendada por (e efectuada para) Alfredo, o Grande, Rei de Wessex (871-899). <![CDATA[Do <em>Akhbār Mulūk al-Andalus [Notícias dos Monarcas da Hispânia]</em> à <em>Crónica do Mouro Rasis</em>:o percurso milenar de um texto mítico (séculos X - XXI)]]> http://scielo.pt/scielo.php?script=sci_arttext&pid=S1646-740X2024000100133&lng=pt&nrm=iso&tlng=pt Resumo Uma obra e um mito, cujo percurso começou no século X, nos meios da Chancelaria Califal de Córdova, durante o reinado de ‘Abd al-Raḥmān III, e cujos conteúdos e informações ainda hoje se mantêm válidos e suscitando vários e variados estudos. Obra a que está vinculado um nome, “al-Rāzī”, cuja versão latinizada, “Rasis”, acabou colada à primeira tradução para português, que desde o século XIII passou a transmitir aquela memória, e depois para a tradução da versão portuguesa para castelhano, onde se fixou. O texto que serviu de base àquela primeira tradução portuguesa, e a partir da qual surgiu a atribuição a “Rasis”, já era, de facto, a obra de Ibn Ġālib, uma refundição do século XII. O texto da primeira tradução passou por várias mãos, lugares e situações até desaparecer no Terramoto de 1755. A tradução castelhana e a Crónica Geral de Espanha de 1344, que teve aquela primeira como fonte, permitiram reconstituir o texto da tradução perdida. Ao longo dos séculos XIX e XX, edições e traduções de textos árabes suscitaram a ideia de uma possível recriação da matriz árabe perdida.<hr/>Abstract A work and a myth, whose journey began in the 10th century, in the Califal Chancellery of Córdoba, during the reign of ‘Abd al-Raḥmān III, and whose contents and information are still valid today and giving rise to several and varied studies. A work to which a name is linked, “al-Rāzī”, whose Latinized version, “Rasis”, ended up being glued to the first translation into Portuguese, which since the 13th century began to transmit that memory, and then to the translation of the Portuguese version into Castilian, where it settled. The text that served as the basis for that first Portuguese translation, and from which that attribution to “Rasis” arose, was already, in fact, the work of Ibn Ġālib, a 12th century recast. The text of the first translation passed through several hands, places and situations until it disappeared in the earthquake of 1755. The Castilian translation and the Crónica General de Espanha of 1344, which had the former as its source, allowed us to reconstruct the text of the lost translation. Throughout the 19th and 20th centuries, editions and translations of Arabic texts raised the idea of ​​a possible recreation of the lost Arabic matrix. <![CDATA[“Este <em>Lais</em> posemos acá” … Yes, but where?]]> http://scielo.pt/scielo.php?script=sci_arttext&pid=S1646-740X2024000100157&lng=pt&nrm=iso&tlng=pt Riassunto L’articolo esamina l’ipotesi, formulata qualche anno fa da Pilar Lorenzo (2013 e 2016), secondo la quale i Lais de Bretanha circolarono in maniera indipendente e in ordine diverso. Una nuova analisi dei dati positivi non permette di confermare questa teoria. Indipendentemente dall’ordine primitivo delle cantigas ‘bretoni’, è altamente probabile che i Lais e le rispettive rubriche siano state composte in due momenti distinti. In particolare, la redazione delle rubriche potrebbe risalire all’epoca in cui i Lais furono inseriti nell’exemplar dei Canzonieri portoghesi di Colocci e, di conseguenza, l’ultima pericope della rubrica di B1 (Este lais posemos acá porque era o melhor que foi feito) giustificherebbe, non la prima posizione che il testo venne ad assumere nella Laissammlung, bensì la funzione di ‘prologo in versi’ che il compilatore aveva assegnato a B1 nella sua collezione di cantigas. L’articolo, inoltre, aggiunge alcuni elementi che convergono con l’ipotesi - già a suo tempo formulata da Carolina Michaëlis de Vasconcellos - secondo la quale D. Pedro, Conte de Barcelos (e la sua cerchia aristocratica) sarebbe stato il responsabile dell’inserimento dei Lais nell’exemplar e della redazione delle rubriche.<hr/>Abstract The paper examines the hypothesis, put forward a few years ago by Pilar Lorenzo Gradín (2013 and 2016), according to which the Lais de Bretanha would have circulated independently and in a different order. A new analysis of the positive data does not confirm this theory. Regardless of the primitive order of the ‘Breton’ cantigas, it is highly probable that the Lais and the associated rubrics were composed at two different times. In particular, the rubrics could be written at the time when the Lais were inserted in the exemplar of the Colocci’s Portuguese Cancioneiros and, consequently, the last sentence of the rubric of B1 (Este lais posemos acá porque era o melhor que foi feito) could justify, not the first position that the text came to assume in the Laissammlung, but the function of “prologue in verse” that the compiler had assigned to B1 in the structure of the collection of cantigas. In addition, the article adds some elements that agree with the hypothesis - already put forward by Carolina Michaëlis de Vasconcellos - according to which D. Pedro, Earl of Barcelos (and his aristocratic circle) was responsible for the insertion of the Lais into the exemplar and the redaction of rubrics. <![CDATA[<em>Babuinare</em>: o macaco nos <em>marginalia</em> do século XIV em Portugal]]> http://scielo.pt/scielo.php?script=sci_arttext&pid=S1646-740X2024000100191&lng=pt&nrm=iso&tlng=pt Resumo Conhecidas pela sua prolixidade e heterodoxia, as margens da arte medieval oferecem-nos, também em Portugal, um vastíssimo elenco de figuras, temas e estratégias de representação que importa interrogar e conhecer. Criadas para preencher vazios, para dinamizar superfícies e relações espaciais, para comentar e ampliar os efeitos previstos para o centro, foram também investidas de funções lúdicas, profiláticas e apotropaicas, tão importantes na cultura medieval mas ainda tão pouco estudadas (e tão difíceis de estudar) entre nós. Entre os diversos protagonistas destas margens da arte medieval, destaca-se, sobretudo a partir do final do século XIII, a figura do macaco, símile e extensão satírica e moralizadora do comportamento humano e, portanto, actor principal de um mundo às avessas que encontra nas margens o seu lugar natural. Atestando a naturalidade desta mesma relação, a primeira designação medieval para uma boa parte da figuração que hoje designamos por marginalia provém do termo babuíno, convocando a generalidade das espécies e comportamentos símios então conhecidos. Partindo desta afinidade, procuraremos identificar e, sempre que possível, interpretar algumas das mais significativas representações de macacos nos marginalia medievais em Portugal ao longo do século XIV, das quais se destacam dois estudos de caso inéditos.<hr/>Abstract Commonly known for their prolix and heterodox nature, the margins of medieval art present us with a vast array of figures, themes, and representational strategies that deserve to be questioned and learned about. Created to fill voids, to dynamise surfaces and spatial relations, to comment on and amplify the effects anticipated for the centre, they were also invested with playful, prophylactic, and apotropaic functions, so important in medieval culture but still so little studied (and so difficult to study) in Portugal. Among the various protagonists of these margins of medieval art, and particularly from the 13th century on, apes stand out as a satirical and moralising simile of mankind, and, therefore, as the main actors of a topsy-turvy world that finds their natural place in the margins. Attesting to this close relationship, the first known medieval designation for what we now call marginalia, comes from the term babewyn, or baboon, summoning the generality of the simian species and behaviours then known. Based on this affinity, we will seek to identify and, whenever possible, interpret some of the most significant representations of monkeys in medieval marginalia in Portugal during the 14th century, of which two unpublished case studies stand out. <![CDATA[Publicity script in the transit between medieval and modernity. The retables of Santo Tomas and Christ of Caparroso in the Cathedral of Pamplona. Paleographic study]]> http://scielo.pt/scielo.php?script=sci_arttext&pid=S1646-740X2024000100223&lng=pt&nrm=iso&tlng=pt Resumen La comunidad científica internacional no tiene dudas hoy en asumir que las inscripciones son un medio de comunicación con intención de notoriedad, universalidad - dentro del grupo social que les da origen- y mayor o menor grado de perdurabilidad. De ahí que haya sido el mecanismo utilizado, entre otros, por artistas y escultores para acompañar a sus programas iconográficos con la intención de completarlos y ofrecer mayor profundidad comunicativa que la que se puede lograr únicamente con la imagen. Este es sin duda el objetivo perseguido por el artista (o los artistas) que realizaron los retablos de la Duda y la Pasión para la capilla funeraria de los Caparroso de la Catedral de Pamplona. Este mecanismo - texto+imagen -, no representa novedad alguna pero sí lo es la utilización de distintos tipos gráficos dentro de un mismo conjunto epigráfico. Este fenómeno es propio y casi exclusivo de la epigrafía de transición entre el ocaso medieval y los albores de la modernidad. Es por ello que nuestro estudio se centra en el análisis paleográfico de estos retablos tratando de arrojar luz sobre algunas incógnitas que aún permanecen sin resolver.<hr/>Abstract The international scientific community has no doubts today in assuming that the inscriptions are a means of communication with the intention of notoriety, universality -within the social group that gives rise to them- and a greater or lesser degree of durability. Hence, it has been the mechanism used, among others, by artists and sculptors to accompany their iconographic programs with the intention of completing them and offering greater communicative depth than that which can be achieved solely with images. This is undoubtedly the objective pursued by the artist (or artists) who created the altarpieces of Doubt and Passion for the Caparroso funeral chapel in Pamplona Cathedral. This mechanism - text+image -, does not represent any novelty, but the use of different graphic types within the same epigraphic group does. This phenomenon is characteristic of and almost exclusive to the epigraphy of the transition between the medieval decline and the dawn of modernity. That is why our study focuses on the paleographic analysis of these altarpieces trying to shed light on some unknowns that still remain unresolved. <![CDATA[Nuno Álvares Pereira, senhor de Almada]]> http://scielo.pt/scielo.php?script=sci_arttext&pid=S1646-740X2024000100251&lng=pt&nrm=iso&tlng=pt Resumo Do percurso de vida de Nuno Álvares Pereira foram sempre destacadas as ações guerreiras e as virtudes religiosas, permanecendo ainda nebuloso o seu desempenho como detentor de poderes jurisdicionais sobre vastos domínios. Quando as negociações de paz com Castela ficaram definitivamente encarreiradas e os seus serviços militares deixaram de ser indispensáveis à afirmação política de D. João I e à defesa do reino, Nuno Álvares Pereira, que, segundo é sabido, nunca se enraizou em nenhum lugar, parece centrar a sua atenção em Almada. Promoveu um paço no recinto do castelo, onde terá residido efetivamente, ainda que por um curto período, procedeu a investimentos, que motivaram o desacordo de D. João I, e interferiu na vida concelhia em diversas vertentes, ao abrigo dos seus poderes senhoriais. Foi ainda em Almada que tratou de assegurar a viabilização do empreendimento do convento do Carmo, para onde se retiraria em 1423, no ano seguinte à doação da vila e termo à neta Isabel.<hr/>Abstract From Nuno Álvares Pereira's life path, were always highlighted his warlike actions and his religious virtues, although his performance as holder of jurisdictional powers over vast domains still remains unclear. When peace negotiations with Castile were definitively in line and his military services were no longer indispensable to the political declaration of D. João I and the defense of the kingdom, Nuno Álvares Pereira, who, as is known, never took root in any place, seems to focus its attention on Almada. He promoted a palace in the castle grounds, where he effectively resided, albeit for a short period, and made investments, which led to the disagreement of D. João I, and interfered in the council's life in various aspects, under the protection of his manorial powers. It was also in Almada that he tried to ensure the viability of the Carmo convent, where he would retire in 1423, the year following the donation of the town and term to his granddaughter Isabel. <![CDATA[Taxation on consumption in a Mediterranean city. New approaches to the Lleuda de Mediona of Barcelona through the case of olive oil, hides and cochineal (13th-14th c.)]]> http://scielo.pt/scielo.php?script=sci_arttext&pid=S1646-740X2024000100279&lng=pt&nrm=iso&tlng=pt Resumen Este artículo profundiza en el conocimiento sobre la Lleuda de Mediona, una tasa sobre la compraventa de productos alimentarios, materias primas y ropa que fue aplicada en la ciudad de Barcelona en período preindustrial. Con el uso de documentación inédita de carácter contencioso o normativo, se presenta el origen y la evolución del impuesto entre los siglos XIII y XIV. Pare ello, se describen en sendas secciones gravámenes especiales ligados a la Lleuda: el mesuratge que afectaba la comercialización del aceite, y el quint del cuiram, aplicado sobre el comercio del cuero y de la cochinilla, materias generalmente importadas de las regiones islámicas del sur del Mediterráneo. El artículo subraya la importancia de estos productos en la economía urbana del momento. Finalmente, el estudio describe aspectos desconocidos sobre el origen de la Lleuda y de su mecánica.<hr/>Abstract This article focuses on the so-called Lleuda de Mediona, a tax on the sale of foods, raw materials and cloth applied in the city of Barcelona during pre-Modern times. With the use of unpublished sources of litigious and/or regulatory nature, the origin and evolution of the tax between the thirteenth and fourteenth centuries are discussed. Two separate sections describe special charges that were directly linked to the Lleuda: the socalled mesuratge, that affected the marketing of olive oil; and the quint of cuiram, applied to the trade of leather and cochineal. The latter were commodities usually imported from the Islamic regions of the southern shore of the Mediterranean. The article underlines the importance of these products in the urban economy of the period. Finally, this study describes some features about the origins of the Lleuda and its mechanics. <![CDATA[The cistern of the Count of Tendilla: a late 15th-century hydraulic engineering work in the Alhambra of Granada]]> http://scielo.pt/scielo.php?script=sci_arttext&pid=S1646-740X2024000100297&lng=pt&nrm=iso&tlng=pt Resumo La edificación del conocido como aljibe del conde de Tendilla es uno de los primeros proyectos que se acometen en la Alhambra de Granada como parte del proceso relacionado con su habitabilidad. De este modo, desde 1492 a 1495 se operaron en la Alhambra construcciones para que la población cristiana pudiese resistir un largo asedio. Las obras de adecuación se desarrollaron en dos líneas, por un lado, la instalación de una artillería en todo el conjunto de murallas, en torres y puertas, y, por otro, la adopción de medidas ante un hipotético sitio, destacando la refortificación de la Alcazaba, y la construcción del aljibe al que nos venimos refiriendo. En el recinto de la fortaleza se va a aspirar a la configuración de una auténtica ciudad con obras de un elevado contenido simbólico, detrás de las cuales se encuentran figuras claves como Íñigo López de Mendoza, el conde de Tendilla. Este noble se va a convertir en uno de los ideólogos del importante cambio que sufrió la zona palatina nazarí en relación con el papel que desempeñó en el marco de la nueva monarquía.<hr/>Abstract The construction of the cistern of the Count of Tendilla, as it is known, was one of the first projects undertaken in the Alhambra of Granada as part of the process related to its habitability. From 1492 to 1495, constructions were carried out in the Alhambra to enable the Christian population to withstand a long siege. The adaptation works were developed in two lines, on one hand, the installation of artillery throughout the walls, towers and gates, and on the other, the adoption of measures against a hypothetical siege, highlighting the refortification of the Alcazaba and the construction of the aforementioned cistern. In the fortress complex, the aim was to create a genuine city with works of high symbolic content, behind which key figures such as Íñigo López de Mendoza, the Count of Tendilla, were involved. This nobleman became one of the ideologists of the significant change that the Nasrid palatine area underwent in relation to the role it played in the framework of the new monarchy. <![CDATA[Recensão / Review: <em>Forms of Unfreedom in the Medieval Mediterranean</em>.]]> http://scielo.pt/scielo.php?script=sci_arttext&pid=S1646-740X2024000100313&lng=pt&nrm=iso&tlng=pt Resumo La edificación del conocido como aljibe del conde de Tendilla es uno de los primeros proyectos que se acometen en la Alhambra de Granada como parte del proceso relacionado con su habitabilidad. De este modo, desde 1492 a 1495 se operaron en la Alhambra construcciones para que la población cristiana pudiese resistir un largo asedio. Las obras de adecuación se desarrollaron en dos líneas, por un lado, la instalación de una artillería en todo el conjunto de murallas, en torres y puertas, y, por otro, la adopción de medidas ante un hipotético sitio, destacando la refortificación de la Alcazaba, y la construcción del aljibe al que nos venimos refiriendo. En el recinto de la fortaleza se va a aspirar a la configuración de una auténtica ciudad con obras de un elevado contenido simbólico, detrás de las cuales se encuentran figuras claves como Íñigo López de Mendoza, el conde de Tendilla. Este noble se va a convertir en uno de los ideólogos del importante cambio que sufrió la zona palatina nazarí en relación con el papel que desempeñó en el marco de la nueva monarquía.<hr/>Abstract The construction of the cistern of the Count of Tendilla, as it is known, was one of the first projects undertaken in the Alhambra of Granada as part of the process related to its habitability. From 1492 to 1495, constructions were carried out in the Alhambra to enable the Christian population to withstand a long siege. The adaptation works were developed in two lines, on one hand, the installation of artillery throughout the walls, towers and gates, and on the other, the adoption of measures against a hypothetical siege, highlighting the refortification of the Alcazaba and the construction of the aforementioned cistern. In the fortress complex, the aim was to create a genuine city with works of high symbolic content, behind which key figures such as Íñigo López de Mendoza, the Count of Tendilla, were involved. This nobleman became one of the ideologists of the significant change that the Nasrid palatine area underwent in relation to the role it played in the framework of the new monarchy. <![CDATA[Recensão / Review: <em>Esta fabla compuesta, de Isopete sacada. Estudios sobre la fábula en la literatura española del siglo XIV</em>.]]> http://scielo.pt/scielo.php?script=sci_arttext&pid=S1646-740X2024000100343&lng=pt&nrm=iso&tlng=pt Resumo La edificación del conocido como aljibe del conde de Tendilla es uno de los primeros proyectos que se acometen en la Alhambra de Granada como parte del proceso relacionado con su habitabilidad. De este modo, desde 1492 a 1495 se operaron en la Alhambra construcciones para que la población cristiana pudiese resistir un largo asedio. Las obras de adecuación se desarrollaron en dos líneas, por un lado, la instalación de una artillería en todo el conjunto de murallas, en torres y puertas, y, por otro, la adopción de medidas ante un hipotético sitio, destacando la refortificación de la Alcazaba, y la construcción del aljibe al que nos venimos refiriendo. En el recinto de la fortaleza se va a aspirar a la configuración de una auténtica ciudad con obras de un elevado contenido simbólico, detrás de las cuales se encuentran figuras claves como Íñigo López de Mendoza, el conde de Tendilla. Este noble se va a convertir en uno de los ideólogos del importante cambio que sufrió la zona palatina nazarí en relación con el papel que desempeñó en el marco de la nueva monarquía.<hr/>Abstract The construction of the cistern of the Count of Tendilla, as it is known, was one of the first projects undertaken in the Alhambra of Granada as part of the process related to its habitability. From 1492 to 1495, constructions were carried out in the Alhambra to enable the Christian population to withstand a long siege. The adaptation works were developed in two lines, on one hand, the installation of artillery throughout the walls, towers and gates, and on the other, the adoption of measures against a hypothetical siege, highlighting the refortification of the Alcazaba and the construction of the aforementioned cistern. In the fortress complex, the aim was to create a genuine city with works of high symbolic content, behind which key figures such as Íñigo López de Mendoza, the Count of Tendilla, were involved. This nobleman became one of the ideologists of the significant change that the Nasrid palatine area underwent in relation to the role it played in the framework of the new monarchy. <![CDATA[Las malas mujeres de la Biblia: aproximación a la iconografía románica de Eva y Salomé en el norte y noroeste peninsular]]> http://scielo.pt/scielo.php?script=sci_arttext&pid=S1646-740X2024000100359&lng=pt&nrm=iso&tlng=pt Resumo La edificación del conocido como aljibe del conde de Tendilla es uno de los primeros proyectos que se acometen en la Alhambra de Granada como parte del proceso relacionado con su habitabilidad. De este modo, desde 1492 a 1495 se operaron en la Alhambra construcciones para que la población cristiana pudiese resistir un largo asedio. Las obras de adecuación se desarrollaron en dos líneas, por un lado, la instalación de una artillería en todo el conjunto de murallas, en torres y puertas, y, por otro, la adopción de medidas ante un hipotético sitio, destacando la refortificación de la Alcazaba, y la construcción del aljibe al que nos venimos refiriendo. En el recinto de la fortaleza se va a aspirar a la configuración de una auténtica ciudad con obras de un elevado contenido simbólico, detrás de las cuales se encuentran figuras claves como Íñigo López de Mendoza, el conde de Tendilla. Este noble se va a convertir en uno de los ideólogos del importante cambio que sufrió la zona palatina nazarí en relación con el papel que desempeñó en el marco de la nueva monarquía.<hr/>Abstract The construction of the cistern of the Count of Tendilla, as it is known, was one of the first projects undertaken in the Alhambra of Granada as part of the process related to its habitability. From 1492 to 1495, constructions were carried out in the Alhambra to enable the Christian population to withstand a long siege. The adaptation works were developed in two lines, on one hand, the installation of artillery throughout the walls, towers and gates, and on the other, the adoption of measures against a hypothetical siege, highlighting the refortification of the Alcazaba and the construction of the aforementioned cistern. In the fortress complex, the aim was to create a genuine city with works of high symbolic content, behind which key figures such as Íñigo López de Mendoza, the Count of Tendilla, were involved. This nobleman became one of the ideologists of the significant change that the Nasrid palatine area underwent in relation to the role it played in the framework of the new monarchy. <![CDATA[A afirmação do pólo urbano e portuário de Setúbal no final da Idade Média no quadro da gestão territorial promovida pela Ordem Militar de Santiago em Portugal]]> http://scielo.pt/scielo.php?script=sci_arttext&pid=S1646-740X2024000100375&lng=pt&nrm=iso&tlng=pt Resumo La edificación del conocido como aljibe del conde de Tendilla es uno de los primeros proyectos que se acometen en la Alhambra de Granada como parte del proceso relacionado con su habitabilidad. De este modo, desde 1492 a 1495 se operaron en la Alhambra construcciones para que la población cristiana pudiese resistir un largo asedio. Las obras de adecuación se desarrollaron en dos líneas, por un lado, la instalación de una artillería en todo el conjunto de murallas, en torres y puertas, y, por otro, la adopción de medidas ante un hipotético sitio, destacando la refortificación de la Alcazaba, y la construcción del aljibe al que nos venimos refiriendo. En el recinto de la fortaleza se va a aspirar a la configuración de una auténtica ciudad con obras de un elevado contenido simbólico, detrás de las cuales se encuentran figuras claves como Íñigo López de Mendoza, el conde de Tendilla. Este noble se va a convertir en uno de los ideólogos del importante cambio que sufrió la zona palatina nazarí en relación con el papel que desempeñó en el marco de la nueva monarquía.<hr/>Abstract The construction of the cistern of the Count of Tendilla, as it is known, was one of the first projects undertaken in the Alhambra of Granada as part of the process related to its habitability. From 1492 to 1495, constructions were carried out in the Alhambra to enable the Christian population to withstand a long siege. The adaptation works were developed in two lines, on one hand, the installation of artillery throughout the walls, towers and gates, and on the other, the adoption of measures against a hypothetical siege, highlighting the refortification of the Alcazaba and the construction of the aforementioned cistern. In the fortress complex, the aim was to create a genuine city with works of high symbolic content, behind which key figures such as Íñigo López de Mendoza, the Count of Tendilla, were involved. This nobleman became one of the ideologists of the significant change that the Nasrid palatine area underwent in relation to the role it played in the framework of the new monarchy. <![CDATA[O senhorialismo nobiliárquico como parte do sistema político português no século XV: o exemplo da senhorialização do Alentejo<sup>*</sup>]]> http://scielo.pt/scielo.php?script=sci_arttext&pid=S1646-740X2024000100393&lng=pt&nrm=iso&tlng=pt Resumo La edificación del conocido como aljibe del conde de Tendilla es uno de los primeros proyectos que se acometen en la Alhambra de Granada como parte del proceso relacionado con su habitabilidad. De este modo, desde 1492 a 1495 se operaron en la Alhambra construcciones para que la población cristiana pudiese resistir un largo asedio. Las obras de adecuación se desarrollaron en dos líneas, por un lado, la instalación de una artillería en todo el conjunto de murallas, en torres y puertas, y, por otro, la adopción de medidas ante un hipotético sitio, destacando la refortificación de la Alcazaba, y la construcción del aljibe al que nos venimos refiriendo. En el recinto de la fortaleza se va a aspirar a la configuración de una auténtica ciudad con obras de un elevado contenido simbólico, detrás de las cuales se encuentran figuras claves como Íñigo López de Mendoza, el conde de Tendilla. Este noble se va a convertir en uno de los ideólogos del importante cambio que sufrió la zona palatina nazarí en relación con el papel que desempeñó en el marco de la nueva monarquía.<hr/>Abstract The construction of the cistern of the Count of Tendilla, as it is known, was one of the first projects undertaken in the Alhambra of Granada as part of the process related to its habitability. From 1492 to 1495, constructions were carried out in the Alhambra to enable the Christian population to withstand a long siege. The adaptation works were developed in two lines, on one hand, the installation of artillery throughout the walls, towers and gates, and on the other, the adoption of measures against a hypothetical siege, highlighting the refortification of the Alcazaba and the construction of the aforementioned cistern. In the fortress complex, the aim was to create a genuine city with works of high symbolic content, behind which key figures such as Íñigo López de Mendoza, the Count of Tendilla, were involved. This nobleman became one of the ideologists of the significant change that the Nasrid palatine area underwent in relation to the role it played in the framework of the new monarchy. <![CDATA[IX Encontro Internacional sobre Ordens Militares. As Ordens Militares: Do Convento e da Guerra para o Mundo (Palmela | 25 a 29 de Outubro de 2023)]]> http://scielo.pt/scielo.php?script=sci_arttext&pid=S1646-740X2024000100409&lng=pt&nrm=iso&tlng=pt Resumo La edificación del conocido como aljibe del conde de Tendilla es uno de los primeros proyectos que se acometen en la Alhambra de Granada como parte del proceso relacionado con su habitabilidad. De este modo, desde 1492 a 1495 se operaron en la Alhambra construcciones para que la población cristiana pudiese resistir un largo asedio. Las obras de adecuación se desarrollaron en dos líneas, por un lado, la instalación de una artillería en todo el conjunto de murallas, en torres y puertas, y, por otro, la adopción de medidas ante un hipotético sitio, destacando la refortificación de la Alcazaba, y la construcción del aljibe al que nos venimos refiriendo. En el recinto de la fortaleza se va a aspirar a la configuración de una auténtica ciudad con obras de un elevado contenido simbólico, detrás de las cuales se encuentran figuras claves como Íñigo López de Mendoza, el conde de Tendilla. Este noble se va a convertir en uno de los ideólogos del importante cambio que sufrió la zona palatina nazarí en relación con el papel que desempeñó en el marco de la nueva monarquía.<hr/>Abstract The construction of the cistern of the Count of Tendilla, as it is known, was one of the first projects undertaken in the Alhambra of Granada as part of the process related to its habitability. From 1492 to 1495, constructions were carried out in the Alhambra to enable the Christian population to withstand a long siege. The adaptation works were developed in two lines, on one hand, the installation of artillery throughout the walls, towers and gates, and on the other, the adoption of measures against a hypothetical siege, highlighting the refortification of the Alcazaba and the construction of the aforementioned cistern. In the fortress complex, the aim was to create a genuine city with works of high symbolic content, behind which key figures such as Íñigo López de Mendoza, the Count of Tendilla, were involved. This nobleman became one of the ideologists of the significant change that the Nasrid palatine area underwent in relation to the role it played in the framework of the new monarchy. <![CDATA[Mosteiro de Alcobaça - XIX Congresso da Associação Hispânica de Literatura Medieval]]> http://scielo.pt/scielo.php?script=sci_arttext&pid=S1646-740X2024000100425&lng=pt&nrm=iso&tlng=pt Resumo La edificación del conocido como aljibe del conde de Tendilla es uno de los primeros proyectos que se acometen en la Alhambra de Granada como parte del proceso relacionado con su habitabilidad. De este modo, desde 1492 a 1495 se operaron en la Alhambra construcciones para que la población cristiana pudiese resistir un largo asedio. Las obras de adecuación se desarrollaron en dos líneas, por un lado, la instalación de una artillería en todo el conjunto de murallas, en torres y puertas, y, por otro, la adopción de medidas ante un hipotético sitio, destacando la refortificación de la Alcazaba, y la construcción del aljibe al que nos venimos refiriendo. En el recinto de la fortaleza se va a aspirar a la configuración de una auténtica ciudad con obras de un elevado contenido simbólico, detrás de las cuales se encuentran figuras claves como Íñigo López de Mendoza, el conde de Tendilla. Este noble se va a convertir en uno de los ideólogos del importante cambio que sufrió la zona palatina nazarí en relación con el papel que desempeñó en el marco de la nueva monarquía.<hr/>Abstract The construction of the cistern of the Count of Tendilla, as it is known, was one of the first projects undertaken in the Alhambra of Granada as part of the process related to its habitability. From 1492 to 1495, constructions were carried out in the Alhambra to enable the Christian population to withstand a long siege. The adaptation works were developed in two lines, on one hand, the installation of artillery throughout the walls, towers and gates, and on the other, the adoption of measures against a hypothetical siege, highlighting the refortification of the Alcazaba and the construction of the aforementioned cistern. In the fortress complex, the aim was to create a genuine city with works of high symbolic content, behind which key figures such as Íñigo López de Mendoza, the Count of Tendilla, were involved. This nobleman became one of the ideologists of the significant change that the Nasrid palatine area underwent in relation to the role it played in the framework of the new monarchy. <![CDATA[As Crónicas de Fernão Lopes - finalmente em Inglês!]]> http://scielo.pt/scielo.php?script=sci_arttext&pid=S1646-740X2024000100435&lng=pt&nrm=iso&tlng=pt Resumo La edificación del conocido como aljibe del conde de Tendilla es uno de los primeros proyectos que se acometen en la Alhambra de Granada como parte del proceso relacionado con su habitabilidad. De este modo, desde 1492 a 1495 se operaron en la Alhambra construcciones para que la población cristiana pudiese resistir un largo asedio. Las obras de adecuación se desarrollaron en dos líneas, por un lado, la instalación de una artillería en todo el conjunto de murallas, en torres y puertas, y, por otro, la adopción de medidas ante un hipotético sitio, destacando la refortificación de la Alcazaba, y la construcción del aljibe al que nos venimos refiriendo. En el recinto de la fortaleza se va a aspirar a la configuración de una auténtica ciudad con obras de un elevado contenido simbólico, detrás de las cuales se encuentran figuras claves como Íñigo López de Mendoza, el conde de Tendilla. Este noble se va a convertir en uno de los ideólogos del importante cambio que sufrió la zona palatina nazarí en relación con el papel que desempeñó en el marco de la nueva monarquía.<hr/>Abstract The construction of the cistern of the Count of Tendilla, as it is known, was one of the first projects undertaken in the Alhambra of Granada as part of the process related to its habitability. From 1492 to 1495, constructions were carried out in the Alhambra to enable the Christian population to withstand a long siege. The adaptation works were developed in two lines, on one hand, the installation of artillery throughout the walls, towers and gates, and on the other, the adoption of measures against a hypothetical siege, highlighting the refortification of the Alcazaba and the construction of the aforementioned cistern. In the fortress complex, the aim was to create a genuine city with works of high symbolic content, behind which key figures such as Íñigo López de Mendoza, the Count of Tendilla, were involved. This nobleman became one of the ideologists of the significant change that the Nasrid palatine area underwent in relation to the role it played in the framework of the new monarchy.