Jo Siffert and his cars
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La Casa Cerdá de Murcia (Región de Murcia, España), es uno de los inmuebles más reconocidos del paisaje urbano de la ciudad. Situada en la Plaza de Santo Domingo, es de estilo ecléctico y fue edificada en los años 1930.
La Casa Cerdá y el efecto colorista de su fachada lo convierten en el inmueble más destacado de la Plaza de Santo Domingo. Por ello ha sido catalogado como Bien de Interés Cultural.
Fundado en 1187 por el rey Alfonso VIII de Castilla y su esposa Leonor de Plantagenet.
Espectacular edificio en el que podemos apreciar estilos que van desde el mudéjar al románico y al gótico y al almohade.
Además, este edificio, panteón real de Castilla, alberga el Museo de Telas Reales, que son fragmentos de la vestimentas, en el caso de D. Fernando de la Cerda, hijo primogénito de Alfonso X, el ajugar completo, que se han extraído de las sepulturas. De esta forma, podemos ver exactamente y con los auténticos atuendos como se vestía en el siglo XIII.
Preciosas sepulturas, preciosa iglesia, un claustro románico y otro gótico, historia por todas partes, un lugar que por alguna razón que se me escapa, no ha sido incluido todavía en la lista de la UNESCO del Patrimonio de la Humanidad.
Stunning building in which we can appreciate from Mudejar to Romanesque and Gothic and Almohad artistic styles.
In addition, this building, the royal pantheon of Castile, houses the museum of royal fabrics, which are fragments of the clothing, in the case of D. Fernando de la Cerda, first-born son of Alfonso X, the entire trousseau, which have been extracted from the tombs. So that, we see now how exactly they dressed in the 13th century.
Beautiful graves, beautiful church, a Romanesque cloister and a Gothic cloister, history everywhere, something that should be a world heritage site.
A project by Ildefons Cerdà and another by Josep Amargós in 1894 proposed to convert Montjuïc into a residential area. Another idea for the celebration of the exhibition in Montjuïc was proposed in 1909 when Manuel Vega i March suggested that the culminating point of the development should be ‘a great Temple of Art, a summary and compendium of our most prodigious knowledge’. Finally, in 1913, it was decided that Montjuïc would be the definite location for the Exhibition of Electric Industries, promoted by the industry and the city council of Barcelona.
Murcia, Spain..........HWW
This building, designed by the architect José Antonio Rodríguez Martínez, dates from the first half of the 20th century. Eclectic in style, it is notable for the tall Ionic columns on its façade and the circular pavilion that crowns the entire building. Its reddish, green and white finish accentuates the singular character of this building, making it a landmark and point of reference in the square in which it is located
This very talented performer sings Mariachi, opera, and various other musical styles. Wearing typical floral hat during Dia de los Muertos celebrations today.
A project by Ildefons Cerdà and another by Josep Amargós in 1894 proposed to convert Montjuïc into a residential area. Another idea for the celebration of the exhibition in Montjuïc was proposed in 1909 when Manuel Vega i March suggested that the culminating point of the development should be ‘a great Temple of Art, a summary and compendium of our most prodigious knowledge’. Finally, in 1913, it was decided that Montjuïc would be the definite location for the Exhibition of Electric Industries, promoted by the industry and the city council of Barcelona.
[ Maestro de los fierros, "MacGyver" del Maule Sur ] & [Padre de muchos gatos]
Linares, diciembre 2017.
A project by Ildefons Cerdà and another by Josep Amargós in 1894 proposed to convert Montjuïc into a residential area. Another idea for the celebration of the exhibition in Montjuïc was proposed in 1909 when Manuel Vega i March suggested that the culminating point of the development should be ‘a great Temple of Art, a summary and compendium of our most prodigious knowledge’. Finally, in 1913, it was decided that Montjuïc would be the definite location for the Exhibition of Electric Industries, promoted by the industry and the city council of Barcelona.
A project by Ildefons Cerdà and another by Josep Amargós in 1894 proposed to convert Montjuïc into a residential area. Another idea for the celebration of the exhibition in Montjuïc was proposed in 1909 when Manuel Vega i March suggested that the culminating point of the development should be ‘a great Temple of Art, a summary and compendium of our most prodigious knowledge’. Finally, in 1913, it was decided that Montjuïc would be the definite location for the Exhibition of Electric Industries, promoted by the industry and the city council of Barcelona.
A project by Ildefons Cerdà and another by Josep Amargós in 1894 proposed to convert Montjuïc into a residential area. Another idea for the celebration of the exhibition in Montjuïc was proposed in 1909 when Manuel Vega i March suggested that the culminating point of the development should be ‘a great Temple of Art, a summary and compendium of our most prodigious knowledge’. Finally, in 1913, it was decided that Montjuïc would be the definite location for the Exhibition of Electric Industries, promoted by the industry and the city council of Barcelona.
A project by Ildefons Cerdà and another by Josep Amargós in 1894 proposed to convert Montjuïc into a residential area. Another idea for the celebration of the exhibition in Montjuïc was proposed in 1909 when Manuel Vega i March suggested that the culminating point of the development should be ‘a great Temple of Art, a summary and compendium of our most prodigious knowledge’. Finally, in 1913, it was decided that Montjuïc would be the definite location for the Exhibition of Electric Industries, promoted by the industry and the city council of Barcelona.
L'Homme des bois - Pastel d'Emmanuel CERDA.
LACPIXEL - 2025
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Please don't use this image without my explicit and written permission.
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A project by Ildefons Cerdà and another by Josep Amargós in 1894 proposed to convert Montjuïc into a residential area. Another idea for the celebration of the exhibition in Montjuïc was proposed in 1909 when Manuel Vega i March suggested that the culminating point of the development should be ‘a great Temple of Art, a summary and compendium of our most prodigious knowledge’. Finally, in 1913, it was decided that Montjuïc would be the definite location for the Exhibition of Electric Industries, promoted by the industry and the city council of Barcelona.
LACPIXEL - 2024
Please don't use this image without my explicit and written permission.
© All rights reserved
Salon des Arts de Balma (31)
Œuvre d'Emmanuel CERDA
LACPIXEL - 2023
Please don't use this image without my explicit permission.
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Sepultura de Fernando de la Cerda, hijo primogénito de Alfonso X de Castilla fallecido en el año 1275.
El sepulcro conserva parte de su policromía, consistente en escudos, enmarcados en octógonos, de Castilla y León, y de Aragón, por ser hijo de Violante, hija a su vez de Jaime I El Conquistador.
Durante la Invasión francesa, las tropas de Napoleón profanaron y robaron casi todas las tumbas del monasterio, excepto ésta, la cual no pudieron abrir o no la vieron al estar tapada por la de su hijo Alonso de la Cerda.
Posteriormente, en el año 1943, Patrimonio Nacional procedió a la apertura de todas las tumbas del monasterio. El ajuar que se extrajo, consistente en las vestiduras del infante, su anillo, su birrete, su espada, espuelas, talabarte y otra serie de objetos, se encuentra expuesto actualmente en el museo de Telas Medievales de Burgos, ubicado en el interior del monasterio que nos permite conocer exactamente como se vestía al final de la alta Edad Media. la realeza castellana.
Burial of Fernando de la Cerda, first-born son of Alfonso X of Castile who died in the year 1275.
The tomb preserves part of its polychrome, consisting of shields, framed in octagons, of Castile and León, and Aragon, for being the son of Violante, daughter of James I the Conqueror.
During the French Invasion, Napoleon's troops desecrated and stole almost all the tombs of the monastery, except this one, which they could not open or did not see as it was covered by that of his son Alonso de la Cerda.
Later, in 1943, Patrimonio Nacional opened all the tombs of the monastery. The trousseau that was extracted, consisting of the infant's clothing, his ring, his cap, his sword, spurs, belt and another series of objects, is currently exhibited in the Museum of Medieval Fabrics of Burgos, located inside the monastery. which allows us to know exactly how the Castilian royalty dressed at the end of the early Middle Ages.
Sarcófago del infante Alfonso de la Cerda, fallecido en 1335, hijo primogénito de Fernando de la Cerda que a su vez era el heredero de Alfonso X el Sabio.
Este infante hubiera sido el rey de Castilla, si su tío Sancho, posterior Sancho IV el Bravo, no hubiera usurpado el trono que en realidad le correspondía ya que su padre había fallecido.
Los infantes de la Cerda lucharon durante mucho tiempo por el trono de Castilla, pero finalmente y una vez entroncaron con los descendientes de Sancho IV y de varias casas reinantes en Europa, firmaron acuerdos para dar por finalizadas sus pretensiones. Una rama de los de la Cerda son los actuales Condes de Medinaceli.
Su sepulcro se encuentra exento, localizado en el centro de la nave de Santa Catalina del cenobio burgalés, aunque en el pasado estuvo situado delante del de su padre, lo que impidió que las tropas de Napoleón saquearan este último que fue abierto a mediados del siglo XX, después de casi 800 años intacto, y llevadas las ropas y joyas que portaba el infante momificado D. Fernando al museo habilitado en el propio monasterio.
El sepulcro, que todavía contiene los restos de Alfonso de la Cerda, cuyo cadáver porta bigote y barba poco desarrollada, está adornado con relieves que se disponen en una serie de octógonos para albergar en su interior castillos y leones, alternándose con espacios intermedios en los que se disponen flores de lis, por ser hijo de Blanca de Francia, hija a su vez del rey francés Alfonso IX.
Sarcophagus of the infante Alfonso de la Cerda, died in 1335, first-born son of Fernando de la Cerda who in turn was the heir of Alfonso X the Wise.
This infant would have been the king of Castile, if his uncle Sancho IV, later Sancho IV the Brave, had not usurped the throne that actually belonged to him since his father had died.
The Infantes of La Cerda fought for a long time for the throne of Castile, but finally, once they joined the descendants of Sancho IV and several reigning houses in Europe, they signed agreements to end their claims. A branch of those of la Cerda are the current Counts of Medinaceli.
His tomb is nowadays free, located in the center of the Santa Catalina nave of the Burgos monastery, although in the past it was located in front of his father's, which prevented Napoleon's troops from looting the latter, that was opened in the middle of the 20 th century, after almost 800 years intact, and the clothes and jewelry that the mummified infant was wearing were taken to the museum set up in the monastery itself.
The tomb, that still contains the remains of Alfonso de la Cerda, whose corpse has a mustache and a poorly developed beard, is decorated with reliefs that are arranged in a series of octagons to house castles and lions, alternating with intermediate spaces in which they have fleurs-de-lis, for being the son of Blanche of France, daughter of the French king Alfonso IX.
A project by Ildefons Cerdà and another by Josep Amargós in 1894 proposed to convert Montjuïc into a residential area. Another idea for the celebration of the exhibition in Montjuïc was proposed in 1909 when Manuel Vega i March suggested that the culminating point of the development should be ‘a great Temple of Art, a summary and compendium of our most prodigious knowledge’. Finally, in 1913, it was decided that Montjuïc would be the definite location for the Exhibition of Electric Industries, promoted by the industry and the city council of Barcelona.
Birrete de Fernando de la Cerda, hijo primogénito de Alfonso X El Sabio.
Este tocado lo vestía la momia de Fernando de la Cerda, fallecido en 1275, cuando Patrimonio Nacional procedió a la apertura de su sepulcro en los años cuarenta del siglo pasado después de casi 800 años intacto. Presenta forma cilíndrica con forro y tiras de tela para su ajuste.
Está decorado con castillos y leones. Los castillos se diseñan con abalorios azules en una superficie de plata dorada que se dispone sobre un fondo rojo de cuentas vítreas, y los leones están bordados sobre fondo de cuentas de aljófar.
Se remata con dos franjas metálicas adornadas con cabujones y decoración incisa con escudos de castillos y leones.
Cap of Fernando de la Cerda, first-born son of Alfonso X The Wise.
This headdress was worn by the mummy of Fernando de la Cerda, who died in 1275, when National Heritage opened his tomb in the 1940s after almost 800 years intact. It has a cylindrical shape with lining and fabric strips for adjustment.
It is decorated with castles and lions. The castles are designed with blue beads on a golden silver surface that is arranged on a red background of vitreous beads, and the lions are embroidered on a background of pearl beads.
It is finished with two metal stripes adorned with cabochons and incised decoration with castle shields and lions.
La idea de construir un temple expiatori (és a dir, a partir de donatius) dedicat a la Sagrada Família va partir del llibreter Josep Maria Bocabella, inspirat pel sacerdot Josep Manyanet —canonitzat el 2004—, fundador de la Congregació de Fills de la Sagrada Família i de la Congregació de Missioneres Filles de la Sagrada Família de Natzaret, encarregades de promoure el culte a la Sagrada Família i de fomentar l'educació cristiana de nens i joves.[6] El 1866, Bocabella va fundar l'Associació de Devots de Sant Josep, entitat dedicada entre altres qüestions a recaptar fons per a la construcció d'un temple. Per a la difusió de la seva tasca, va editar a partir del 1867 una revista, titulada inicialment El Propagador de la devoción a San José, inspirada en la revista francesa Le propagateur de la dévotion à Saint Joseph, publicada a Dijon pel pare Joseph Huguet.[7][b]
El 31 de desembre de 1881, Josep Bocabella va comprar per 172.000 pessetes uns terrenys situats a la zona del Poblet, aleshores una barriada de Sant Martí de Provençals.[8][9][c][10] Delimitats pels carrers de Mallorca, Provença, Marina i Sardenya, corresponien a una de les illes del Pla Cerdà, la qual, però, era més gran que les altres perquè, en principi, estava previst construir-hi un hipòdrom.[8]
El projecte fou encomanat a l'arquitecte Francesc de Paula Villar i Lozano, que va traçar un projecte neogòtic amb una església de tres naus amb creuer i un absis amb deambulatori, rebutjant la idea de Bocabella de fer una rèplica del santuari de Loreto, que se suposa va ser la casa de Josep i Maria a Natzaret.[11] El dia de Sant Josep de 1882, el bisbe Urquinaona posava la primera pedra,[12][13][14] coincidint amb la proclamació al Concili Vaticà I de sant Josep com a patró de l'Església Universal. Els desacords de Villar amb Bocabella van fer que aquest demanés assessorament a l'arquitecte Joan Martorell i Montells i van provocar la dimissió del primer. Aleshores, es va oferir el càrrec a Martorell, però aquest el va rebutjar i va recomanar Gaudí, que havia treballat per a ell com a ajudant, i el 1883, assumí la direcció de les obres.[15]
El desembre de 1884, Gaudí signà el projecte de la capella de Sant Josep a l'absis de la cripta, que fou inaugurat el 19 de març de 1885, en el qual intervingueren els escultors Llorenç Matamala i Piñol i Carles Mani.[16] Se sap que en aquest any hi treballaven un equip de vuit paletes, deu picapedrers, dotze escultors i un nombre indeterminat de fusters i serrallers.[17] El 1891 van començar les obres de la façana del Naixement,[cal citació] i des del 1895, la gestió del projecte va a càrrec de la Junta Constructora del Temple Expiatori de la Sagrada Família, una fundació canònica per a promoure la construcció del temple mitjançant donatius i iniciatives privades.[cal citació]
A partir de l'encàrrec de la casa Milà de l'any 1906, Gaudí pràcticament es concentraria només en l'obra de la Sagrada Família que, de fet, ocuparia tota la seva carrera, ja que feia un quart de segle que en dissenyava i dirigia la construcció i moriria fent-ho; així i tot, el temple només quedava embastat.[18] Va poder veure'n construïda una part del costat de l'Epístola amb la façana del Naixement, de la qual només la torre de sant Bernabé estava acabada totalment i una part del mur exterior de l'absis.[cal citació]
El 12 de juny de 1926, Antoni Gaudí va ser sepultat a la capella de la Mare de Déu del Carme de la cripta.[cal citació] A la seva època, hi van col·laborar molts dels seus deixebles i ajudants, com Francesc Berenguer, Josep Maria Jujol, Josep Francesc Ràfols, Cèsar Martinell, Joan Bergós, Francesc Folguera, Josep Canaleta i Joan Rubió, i a la seva mort, es va fer càrrec de les obres un altre dels seus deixebles, Domènec Sugrañes, que va finalitzar la construcció de les tres torres de la façana del Naixement que quedaven pendents.[cal citació]
El 20 de juliol de 1936, tot just iniciada la Guerra Civil espanyola, grups d'exaltats anarquistes van incendiar el temple i van destruir bona part del taller en el qual Gaudí havia treballat i on hi havia els seus esbossos, maquetes i models. Tot i que es va perdre molt material van quedar restes de les maquetes, que es van restaurar, i la documentació que s'havia publicat en El Propagador, en l'Àlbum i que havia estat recollida pels seus deixebles, com Isidre Puig i Boada.[cal citació]
L'any 1944 es van reprendre les obres per un equip dirigit per Francesc de Paula Quintana i Vidal, Isidre Puig i Boada, Lluís Bonet i Garí, els quals, a la mort del primer l'any 1966, continuaren fins a l'any 1981, en què prengué el relleu Francesc Cardoner i Blanch.[19] El 1985 va ser nomenat director Jordi Bonet i Armengol,[20][21] amb un equip on figuraven Carles Buxadé, Joan Margarit i Jordi Faulí i Oller.[20] El 2012, Jordi Bonet va ser substituït per Jordi Faulí i Oller.[22]
El 18 de març de 2007 se'n va commemorar el 125è aniversari de la col·locació de la primera pedra amb una festa, concerts i ballant una sardana (La Santa Espina) encerclant tot el temple.[23]
Segons les darreres previsions, la torre de Jesús s'acabaria a finals del 2025, i el 2026 es faria la inauguració oficial, coincidint amb el centenari de la mort de Gaudí.[24]
The Basílica i Temple Expiatori de la Sagrada Família,[a] otherwise known as Sagrada Família, is a church under construction in the Eixample district of Barcelona, Catalonia, Spain. It is the largest unfinished Catholic church in the world. Designed by the Catalan architect Antoni Gaudí (1852–1926), in 2005 his work on Sagrada Família was added to an existing (1984) UNESCO World Heritage Site, "Works of Antoni Gaudí".[5] On 7 November 2010, Pope Benedict XVI consecrated the church and proclaimed it a minor basilica.[6][7][8]
On 19 March 1882, construction of Sagrada Família began under architect Francisco de Paula del Villar. In 1883, when Villar resigned,[5] Gaudí took over as chief architect, transforming the project with his architectural and engineering style, combining Gothic and curvilinear Art Nouveau forms. Gaudí devoted the remainder of his life to the project, and he is buried in the church's crypt. At the time of his death in 1926, less than a quarter of the project was complete.[9]
Relying solely on private donations, Sagrada Família's construction progressed slowly and was interrupted by the Spanish Civil War. In July 1936, anarchists from the FAI set fire to the crypt and broke their way into the workshop, partially destroying Gaudí's original plans.[10] In 1939, Francesc de Paula Quintana took over site management, which was able to go on with the material that was saved from Gaudí's workshop and that was reconstructed from published plans and photographs.[11] Construction resumed to intermittent progress in the 1950s. Advancements in technologies such as computer-aided design and computerised numerical control (CNC) have since enabled faster progress and construction passed the midpoint in 2010. In 2014, it was anticipated that the building would be completed by 2026, the centenary of Gaudí's death,[12] but this schedule was threatened by work slowdowns caused by the 2020–2021 depths of the COVID-19 pandemic.[13] In March 2024, an updated forecast reconfirmed a likely completion of the building in 2026, though the announcement stated that work on sculptures, decorative details and a controversial proposed stairway leading to what will eventually be the main entrance is expected to continue until 2034.[14]
Describing Sagrada Família, art critic Rainer Zerbst said "it is probably impossible to find a church building anything like it in the entire history of art",[15] and Paul Goldberger describes it as "the most extraordinary personal interpretation of Gothic architecture since the Middle Ages".[16]
Though sometimes[when?] described[by whom?] as a cathedral, the basilica is not the cathedral church of the Archdiocese of Barcelona; that title belongs to the Cathedral of the Holy Cross and Saint Eulalia (Barcelona Cathedral).
History
Origins
Sagrada Família was inspired by a bookseller, José María Bocabella [es], founder of Asociación Espiritual de Devotos de San José (Spiritual Association of Devotees of St. Joseph). After a visit to the Vatican in 1872, Bocabella returned from Italy with the intention of building a church inspired by the basilica at Loreto. The apse crypt of the church, funded by donations, was begun 19 March 1882, on the festival of St. Joseph, to the design of the architect Francisco de Paula del Villar, whose plan was for a Gothic revival church of a standard form. The apse crypt was completed before Villar's resignation on 18 March 1883, when Antoni Gaudí assumed responsibility for its design, which he changed radically.[17] Gaudi began work on the church in 1883 but was not appointed Architect Director until 1884.[citation needed]On the subject of the extremely long construction period, Gaudí is said to have remarked: "My client is not in a hurry."[18] When Gaudí died in 1926, the basilica was between 15 and 25 percent complete.[9][19] After Gaudí's death, work continued under the direction of his main disciple Domènec Sugrañes i Gras until interrupted by the Spanish Civil War in 1936. Parts of the unfinished basilica and Gaudí's models and workshop were destroyed during the war. The present design is based on reconstructed versions of the plans that were burned in a fire as well as on modern adaptations.[14] Since 1940, the architects Francesc Quintana, Isidre Puig Boada, Lluís Bonet i Garí and Francesc Cardoner have carried on the work. The illumination was designed by Carles Buïgas. The director until 2012 was the son of Lluís Bonet, Jordi Bonet i Armengol. Armengol began introducing computers into the design and construction process in the 1980s.[citatiThe central nave vaulting was completed in 2000 and the main tasks since then have been the construction of the transept vaults and apse. In 2002, the Sagrada Família Schools building was relocated from the eastern corner of the site to the southern corner, and began housing an exhibition. The school was originally designed by Gaudí in 1909 for the children of the construction workers.[20]
As of 2006, work concentrated on the crossing and supporting structure for the main steeple of Jesus Christ as well as the southern enclosure of the central nave, which will become the Glory façade. Computer-aided design technology has allowed stone to be shaped off-site by a CNC milling machine, whereas in the 20th century the stone was carved by hand.[21] In 2008, some renowned Catalan architects advocated halting construction[22] to respect Gaudí's original designs, which, although they were not exhaustive and were partially destroyed, have been partially reconstructed in recent years.[23]
Since 2013, AVE high-speed trains have passed near Sagrada Família through a tunnel that runs beneath the centre of Barcelona. The tunnel's construction, which began on 26 March 2010, was controversial. The Ministry of Public Works of Spain (Ministerio de Fomento) claimed the project posed no risk to the church.[24][25] Sagrada Família engineers and architects disagreed, saying there was no guarantee that the tunnel would not affect the stability of the building. The Board of the Sagrada Família (Patronat de la Sagrada Família) and the neighborhood association AVE pel Litoral (AVE by the Coast) led a campaign against this route for the AVE, without success.[citation needed] In October 2010, the tunnel boring machine reached the church underground under the location of the building's principal façade.[24] Service through the tunnel was inaugurated on 8 January 2013.[26] Track in the tunnel makes use of a system by Edilon Sedra in which the rails are embedded in an elastic material to dampen vibrations.[27]
The main nave was covered and an organ installed in mid-2010, allowing the still-unfinished building to be used for liturgies.[28] The church was consecrated by Pope Benedict XVI on 7 November 2010 in front of a congregation of 6,500 people.[29] A further 50,000 people followed the consecration Mass from outside the basilica, where more than 100 bishops and 300 priests were on hand to distribute Holy Communion.[30]In 2012, Barcelona-born Jordi Faulí i Oller took over as architect of the project.[31][32] Mark Burry of New Zealand serves as Executive Architect and Researcher.[33] Sculptures by J. Busquets, Etsuro Sotoo and Josep Maria Subirachs decorate the fantastical façades.
Chief architect Jordi Faulí announced in October 2015 that construction was 70 percent complete and had entered its final phase of raising six immense steeples. The steeples and most of the church's structure were planned to be completed by 2026, the centennial of Gaudí's death;[14] as of a 2017 estimate, decorative elements should be complete by 2030 or 2032.[34][failed verification] Visitor entrance fees of €15 to €20 finance the annual construction budget of €25 million.[35] Completion of the structure will use post-tensioned stone.[36]
Starting on 9 July 2017, an international mass is celebrated at the basilica every Sunday and holy day of obligation, at 9 a.m., and is open to the public (until the church is full). Occasionally, Mass is celebrated at other times, where attendance requires an invitation. When masses are scheduled, instructions to obtain an invitation are posted on the basilica's website. In addition, visitors may pray in the chapel of the Blessed Sacrament and Penitence.[37]
The stone initially used in its construction came from the Montserrat mountain, but it became clear that as quarrying there went deeper, the stone was increasingly fragile and an alternative source had to be found. Since 2018 stone of the type needed to complete the construction has been sourced from the Withnell Quarry in Brinscall, near Chorley, England.[3
Aljuba y pellote de D. Fernando de la Cerda, hijo y heredero, , de Alfonso X el Sabio.
Durante la Invasión francesa, las tropas de Napoleón profanaron y robaron casi todas las tumbas del monasterio, excepto la de Fernando de la Cerda, la cual no pudieron abrir o no la vieron al estar tapada entonces por la de su hijo Alonso de la Cerda.
Posteriormente, en el año 1943, Patrimonio Nacional procedió a la apertura de todas las tumbas del monasterio. El ajuar que vestía la momia, consistente en las vestiduras del infante, su anillo, su birrete, su espada, espuelas, talabarte y otra serie de objetos, se encuentra expuesto actualmente en el museo de Telas Medievales de Burgos, ubicado en el interior del monasterio que nos permite conocer exactamente como vestía al final de la alta Edad Media la realeza castellana.
Tres eran las prendas principales; la saya, el pellote y la capa. Acompañadas de ropas interiores y de diversos complementos, constituían el atavío tanto masculino como femenino, no observándose diferencias en lo que respecta al mundo infantil.
Aljuba and pellete of D. Fernando de la Cerda, son and heir, although he died before inheriting the throne,
of Alfonso X the Wise.
During the French Invasion, Napoleon's troops desecrated and stole almost all the tombs of the monastery, except that of Fernando de la Cerda, which they could not open or did not see as it was then covered by that of his son Alonso de la Cerda.
Later, in 1943, National Heritage opened all the tombs of the monastery. The trousseau that the mummy was wearing, consisting of the infant's clothing, his ring, his cap, his sword, spurs, belt and another series of objects, is currently exhibited in the Museum of Medieval Fabrics of Burgos, located inside the monastery that allows us to know exactly how the Castilian royalty dressed at the end of the early Middle Ages.
There were three main garments; the saya, the pellote and the cape. Accompanied by underwear and various accessories, they constituted both male and female attire, with no differences observed with regard to the children's world.
LACPIXEL - 2024
Please don't use this image without my explicit and written permission.
© All rights reserved
El poble cerdà de Prullans vist des del sur, per la carretera del camping.
ca.wikipedia.org/wiki/Prullans
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The village of Prullans, in the Catalan Pyrenees, seen from the south.
A project by Ildefons Cerdà and another by Josep Amargós in 1894 proposed to convert Montjuïc into a residential area. Another idea for the celebration of the exhibition in Montjuïc was proposed in 1909 when Manuel Vega i March suggested that the culminating point of the development should be ‘a great Temple of Art, a summary and compendium of our most prodigious knowledge’. Finally, in 1913, it was decided that Montjuïc would be the definite location for the Exhibition of Electric Industries, promoted by the industry and the city council of Barcelona.
A project by Ildefons Cerdà and another by Josep Amargós in 1894 proposed to convert Montjuïc into a residential area. Another idea for the celebration of the exhibition in Montjuïc was proposed in 1909 when Manuel Vega i March suggested that the culminating point of the development should be ‘a great Temple of Art, a summary and compendium of our most prodigious knowledge’. Finally, in 1913, it was decided that Montjuïc would be the definite location for the Exhibition of Electric Industries, promoted by the industry and the city council of Barcelona.
At a roadside pull off along the main park road heading to the Boquillas Canyon with a view looking to the east. My thinking in composing this image was to get down low and more or less have a leveled on view, using the road and center stripe as a leading line to first, the tunnel with ridge, and then the ridgelines and peaks leading off into Mexico in the upper portion of the image.
A project by Ildefons Cerdà and another by Josep Amargós in 1894 proposed to convert Montjuïc into a residential area. Another idea for the celebration of the exhibition in Montjuïc was proposed in 1909 when Manuel Vega i March suggested that the culminating point of the development should be ‘a great Temple of Art, a summary and compendium of our most prodigious knowledge’. Finally, in 1913, it was decided that Montjuïc would be the definite location for the Exhibition of Electric Industries, promoted by the industry and the city council of Barcelona.
A project by Ildefons Cerdà and another by Josep Amargós in 1894 proposed to convert Montjuïc into a residential area. Another idea for the celebration of the exhibition in Montjuïc was proposed in 1909 when Manuel Vega i March suggested that the culminating point of the development should be ‘a great Temple of Art, a summary and compendium of our most prodigious knowledge’. Finally, in 1913, it was decided that Montjuïc would be the definite location for the Exhibition of Electric Industries, promoted by the industry and the city council of Barcelona.
La Cerdanya, aquest gran altiplà o vall, depen de com ho volgueu veure, és realment preciosa. Sobretot vista des d'algun punt de les muntanyes de l'entorn, on es pot apreciar la seva suau plana enmig dels Pirineus.
Foto presa des de la carretera entre els poblets de Cortàs i Éller.
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The Cerdanya, in the Catalan Pyrenees is a very wide valley, unique in this montanious range. It's even more beautiful seen from above, with the rolling fields surrounded by peaks.
Picture taken from the road between Cortàs and Éller a couple of tiny villages.
A setting looking to the east while walking the Hot Springs Trail and taking in views across desert landscape present in this part of Big Bend National Park. My thinking in composing this image was to use the landscape and its layers present. There would be the small trees and vegetation along the Rio Grande and border with Mexico, along with the limestone cliffs on the image left. There would then come the ridge present on the Mexican side of the border and finally the peaks and ridgelines of the Sierra Del Carmen with Pico de Cerda.
Vista del poble cerdà de Prullans, des de l'habitació del apartament que hi varem llogar. Quan arribes amb prou feines veus el poble, ja que fa pujada, i en canvi el varem veure així de cop. És preciós. Dominant el poble podeu veure el casal dels Barons de Prullans, originariament fortificat.
ca.wikipedia.org/wiki/Prullans
ca.wikipedia.org/wiki/Casa_dels_Barons_(Prullans)
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The beautiful Catalan mountain village of Prullans, in the Cerdanya. This was the view from the apartment we rented for a week. Lovely.
To the upper right corner you can see the former castle of the Prullans barons.
Captured on the road to Boquillas Canyon. Pico de Cerda is the prominent peak off in the distance in Mexico.
Okay, so I'd previously driven along this road many years ago and seen this setting, but making that turn and then coming up to this tunnel with the mountain peaks off in the distance is still a sight to take in! That's the feeling that I wanted to capture with this image. I had two thoughts as I was trying to compose this image. One was to capture as much of the nearby hillside and far-off mountain peaks as I could to fill up this image. I felt that best captured the impressive beauty of this setting. The next thing was that I wanted to try the technique of getting down low to the ground and looking across the pavement. The idea was to use the leading lines of the road as a way to lead the eyes to what lied beyond with the hills and mountains. For reference according to peakbaggger.com web site, the one ridgeline just beyond the tunnel is part of the Sierra del Carmen in the Big Bend Ranges. Beyond and above is a look into Mexico with the distinct Pico de Cerda more of less centered in the upper portion of the image.
From a roadside pullout on the main park road with a view looking to the southeast across the desert landscape in this part of Big Bend National Park. Far off in the distance are the Sierra del Carmen, along with Pico de Cerda and other ridges and peaks. The different ridgelines created a layered approach across the image.
Vista del petit poblet cerdà d'Olià, des del igualment petit Nas.
El més curios que m'he trobat en rel·lació a aquesta foto és que un poble de 14 habitants té una inmensa pàgina de la Viquipedia en català. Que hi estiueja algú dels redactors de la mateixa, vaja. ;-)
ca.wikipedia.org/wiki/Oli%C3%A0
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The tiny mountain village of Olià, in the Catalan Pyrenees, seen from the also tiny Nas (wich means "nose" in Catalan).
What I've found inusual is that such a small village (14 inhabitants!!!!) not only has a Wikipaedia page, but a LARGE one, at least in the Catalan version.
Maher (detalle)
en la comuna Pedro Aguirre Cerda (Santiago - Chile)
Aquí foto-detalles de obras realizadas en distintos lugares de Chile... agradezco a todos los artistas por permitir que sus obras sean difundidas acá en Flickr...
(por favor si sabes el nombre del autor agrega una nota... muchas gracias!)
Mas gráfica y fotos en:
Contacto:
leoncalquin@gmail.com
and Then Into Mexico.
While enjoying a late morning stroll on the other side of the mountain peak from the Chisos Basin area, I was taking in the views as I looked forward to standing on the South Rim. Here though with a break in the trees, I had a view to what all appeared to be a valley looking down the mountainside. Just beyond was Boot Rock and even further were the Sierra del Carmen mountains including Pico de Cerda barely visible off in the distance.